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a  magazine  for  video  and  filmmakers 


THE 


OR  THE  PEOPLE 
)o-Something  Docs 
Big  Bird  and  Beyond 
lew  from  Rooftop  Films 
Making  This  Revolution 


A  Publication  of  The  Association  of  Independent  Video  and  Filmmakers 

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CANADA 


DOCUMENTARY 


Volume  28  Number  3 

Cover:  Mehria  Azizi  filming  Afghanistan  Unveiled  in  Afghanistan's  Kandahar  province 
(Courtesy  of  Polly  Hyman  and  the  AINA  Women's  Filming  Group/ITVS) 


www.aivf.org 


Upfront 


Features 


5  EDITOR'S  LETTER 

6  CONTRIBUTORS 
9  NEWS 

Eyes  on  the  Prize  is  slammed  with  copyright  costs; 
The  rebuilding  of  the  DCTV/MNN  studio; 
Bullets  in  the  Hood;  In  Memory:  Community 
Media  Center  director  Dirk  Koning 
By  Rick  Harrison 

14  OBITUARY 

Ossie  Davis — fondly  remembered  for  over  50 
years  of  filmmaking  and  social  activism 
By  Douglas  Singleton 

16  PRODUCTION  JOURNAL 

This  Revolution:  the  making  of  an  arresting  film 
By  Stephen  Marshall 

21  Q/A 

Tamara  E.  RobinsomWNET's  vice  president 
and  director  of  programming 
By  Rebecca  Carroll 

24  ON  THE  SCENE 

Journeys  in  Film  fosters  awareness  and  tolerance 
among  children 

By  Derek  Loosvelt 

28  DOC  DOCTOR 

Fitting  films  into  pre-formatted  public  programs; 
how  and  when  to  create  an  outreach  campaign 
By  Fernanda  Rossi 

30  POLICY 

The  expense  and  complications  of  using 
copyrighted  materials  in  a  film 
Bv  Matt  Dunne 


32  BIG  BIRD  AND  BEYOND 

Can  public  broadcasting  fill  the  wasteland  of 
commercial  TV? 
By  Amy  Albo 

36  A  FILM  WITH  A  VIEW 

Independents  take  to  the  roof  for  a  film  festival 
By  David  Aim 

40    DO-SOMETHING  DOCS 

Effecting  change  beyond  affecting  attitudes 
By  Lisa  Selin  Davis 


Listings 

44  FESTIVALS 
49  CLASSIFIEDS 
53  NOTICES 
56  WORK  WANTED 

62  SALONS 

63  THANKS 

64  THE  LIST 


April  2005  I  The  Independent    3 


Recent  Projects  Include 

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color  correction 

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i/pov 


Award-winning 
Documentaries, 
Unforgettable  Stories 

Every  Tuesday  on  PBS,  June  2 7  -  September  20 

P.O.V.'s  18th  season  showcases  extraordinary 
films  about  contemporary  social  issues. 
It's  current  events  with  a  human  touch. 

Visit  www.pbs.org/pov  for  this  season's  line  up 
and  exclusive  online  previews. 

Watch  P.O.V.,  Tuesdays  at  10  PM  on  PBS. 

(Check  local  listings.) 


ROM,  a  cinema  term  for  'point-of-viw. '  is  television's  first  and  longest-running  independent  documentary  showcase 


•  ;i   tfferft)  '■-..'.  .-.:  QOfetQafM) 


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Publisher:  Bienvenida  Matias 
lpublisher@aivf.org] 

Editor-in-Chief:  Rebecca  Carroll 

[editor@aivf.org] 

Managing  Editor:  Shana  Liebman 

[independent@aivf  org] 

Assistant  Editor:  Rick  Harrison 

[fact@aivf.org] 

Designer:  R.  Benjamin  Brown 

[benbrowngraphic@msn.com] 

Production  Associate:  Timothy  Schmidt 

[graphics@aivf  org] 

Editorial  Associate:  Lindsay  Gelfand 

[notices@aivf  org] 

Contributing  Editors: 

Sherman  Alexie,  David  Aim,  Pat  Aufderheide, 

Momque  Cormier,  Bo  Mehrad,  Cara  Mertes,  Kate  Turtle 

Contributing  Writers: 

Elizabeth  Angell,  Margaret  Coble,  Lisa  Selin  Davis, 

Matt  Dunne,  Gadi  Harel,  Rick  Harrison 

Advertising  Representative:  Veronica  Shea 

(2121  807-1400  x232:  [veronica@aivf.org] 

Advertising  Representative:  Michael  Tierno 

(212)  807-1400  x234,  [mike@aivf  org] 

Classified  Advertising:  Michael  Tierno 

(212)  807-1 400  x241 ;  [classifieds@aivf  org] 

t 

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The  Independent 
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The  IndependentwSSN  1077-8918)  is  published  monthly  (except 
combined  issues  January/February  and  July/August)  by  the 
Foundation  for  Independent  Video  and  Film  (FIVF),  a  501(c)(3) 
dedicated  to  the  advancement  of  media  arts  and  artists. 
Subscription  to  the  magazine  is  included  in  annual  membership 
dues  ($70/yr  individual,  $40/yr  student:  $200/yr  nonprofit/school: 
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sional association  of  individuals  involved  in  moving  image  media 
Library  subscriptions  are  $75/yr  Contact:  AIVF,  304  Hudson  St , 
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_.-     Publication  of  The  Independent  is  made  possible 
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::  ..v..    Council  on  the  Arts,  a  state  agency,  and  the  National 
Endowment  for  the  Arts,  a  federal  agency. 

Publication  of  any  ad  in  The  Independent  does  not  constitute  an 
endorsement.  AIVF/FIVF  are  not  responsible  for  any  claims  made  in 
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The  Independent  is  indexed  in  the  Alternative  Press  Index  and  is  a 
member  of  the  Independent  Press  Association. 

AIVF/FIVF  staff:  Bienvenida  Matias,  executive  director, 
Soma  Malfa,  program  director;  Priscilla  Grim,  membership  director; 
Bo  Mehrad,  information  services  director;  Greg  Gilpatrick, 
technology  consultant;  Karen  Odom,  Joseph  Trawick-Smith,  interns, 
AIVF/FIVF  legal  counsel:  Robert  I.  Freedman,  Esq.,  Cowan,  DeBaets, 
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AIVF  Board  of  Directors:  Joel  Bachar,  Doug  Hawes-Davis,  Paula 
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Weiss 

©  Foundation  for  Independent  Video  &  Film,  Inc.  2004 
Visit  The  Independent  online  at:  www.aivf.org 


4  The  Independent  I  April  2005 


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EDITOR'S  LETTER 

Dear  Readers: 

The  thing  about  media  outreach  is  that 
while  you  are  ostensibly  trying  to  reach 
outward,  invariably  you  end  up  pulling 
inward — to  check  yourself.  How  far  am  I 
willing  to  go?  What  are  my  real  intentions? 
And  are  all  those  folks  I'm  trying  to  reach 
really  worth  it  in  the  long  run?  Best  case 
scenario  is...  what?  I  change  the  world? 
Does  that  really  ever  happen?  Does  it, 
whatever  it  is,  really  just  start  with  one 
person?  Each  one,  teach  one  kind  of  thing? 
Is  this  going  to  help  with  my  karma? 

You're  not  alone — it's  very  human  (and 
very  smart)  to  check  yourself  when  you're 
off  doing  good  in  the  world.  Altruism  is 
not  often  suited  to  mere  mortals.  But  if 
after  you  have  checked  yourself  and  the 
news  comes  back  that  your  intentions  are 
sound — then  carry  on,  and  carry  on  a  lot. 
We  need  you.  And  we  need  programs  like 
Journeys  in  Film,  founded  by  Joanne 
Ashe — a  nonprofit  organization  that  inte- 
grates foreign  films  into  social  studies, 
geography,  and  art  classes.  Doesn't  that 
seem  like  a  no-brainer?  And  yet,  Ashe's  is 
the  first  and  only  organization  of  its  kind. 

There  is  hope  in  public  outreach  and  in 
trying  to  effect  change  and  strengthen  the 
collective  character  among  your  peers. 
That,  I  believe,  was  the  original  intent  of 
PBS,  which  has  both  changed  and  stayed 
the  same  over  the  years.  But  even  as  arti- 
cles are  written  (thoughtfully  so,  by  Amy 
Albo,  page  32),  and  questions  are  asked 
(of  WNET  vice  president  and  director  of 
programming,  Tamara  Robinson,  page 
21),  I'm  still  not  entirely  sure  what  PBS  is 
all  about.  And  doesn't  it  also  seem,  in  some 


ways,  too  good  to  be  true?  Is  it  possible 
that  a  national  broadcasting  network  can 
exist  solely  for  the  purpose  of  educating 
people  in  a  not-always-boring  way  and 
sustain  itself  solely  through  private  dona- 
tions from  rich  people?  In  Albo's  article, 
ITVS's  Lois  Vossen  says  of  the  widely 
viewed  PBS  "Independent  Lens"  series: 
"It's  free  to  every  American  household  and 
seen  in  a  commercial-free  environment. 
That  is  phenomenal  in  my  opinion."  And 
yes,  it  is,  although  somehow  (and  here 
visions  of  Barney  and  Elmo  come  to 
mind),  it  still  feels  commercial  to  me.  It 
will  be  interesting  to  see  the  direction  PBS 
takes  (if  a  new  direction  is  taken  at  all) 
after  longtime  PBS  president  Pat  Mitchell 
steps  down  in  2006. 

At  the  local  level,  despite  the  ever-pres- 
ent cache  that  comes  with  "independent 
filmmaking"  in  New  York,  the  young  men 
of  Rooftop  Films  in  Brooklyn  show  indie 
films  up  on  a  roof  without  attitude  or  pre- 
tense (page  36).  Rooftop,  which  started 
out  in  1997  as  a  nonprofit  film  festival  and 
production  collective  that  screened  films 
with  a  16mm  projector  and  chairs  bor- 
rowed from  a  furniture  company,  now 
receives  up  to  2,000  film  submissions  a 
year.  And  that's  just  for  the  festival  arm  of 
Rooftop.  They  also  now  provide  produc- 
tion grants,  education  initiatives,  and  trav- 
eling programs. 

Also  in  this  issue:  Lisa  Selin  Davis  on 
documentaries  that  effect  change,  film- 
maker Stephen  Marshall  on  the  making  of 
his  latest  film,  This  Revolution,  and  policy 
columnist  Matt  Dunne  on  the  reality  of 
clearing  copyrighted  material. 

Finally,  we  bid  a  sad  farewell  to  Ossie 
Davis — the  black  king  to  Malcolm  X's 
black  prince,  whom  Davis  so  elegantly 
eulogized  40  years  ago  this  past  February. 
"Did  you  ever  listen  to  him?"  said  Davis  of 
Malcolm.  "For  if  you  did  you  would  know 
him.  And  if  you  knew  him  you  would 
know  why  we  must  honor  him."  Of  Davis 
I  say  the  same,  with  his  deep  and  resonant 
voice  forever  fresh  in  my  mind. 

Enjoy,  and  thanks  for  reading 
The  Independent, 
Rebecca  Carroll 


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April  2005  I  The  Independent     5 


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CONTRIE 


AMY  ALBO 

is  a  freelance  writer  and  editor  living  in 
Salt  Lake  City.  She  worked  for  the 
Sundance  Film  Festival  and  at  the 
Institute's  filmmaking  labs  for  many 
years.  She  received  her  MA  in  nonfic- 
tion  writing  from  The  Johns  Hopkins 
University  and  was  an  editor  at  The 
American  Benefactor  and  Civilization 
magazines  in  New  York.  She  enjoys 
watching  "Postcards  from  Buster  "  with 
her  two  children. 


DAVID  ALM 

teaches  film  history  and  writing  at  two 
colleges  in  Chicago.  His  writing  has 
appeared  in  Artbyte,  Camerawork,  RES, 
Silicon  Alley  Reporter,  SOMA,  and  The 
Utne  Reader.  He's  also  contributed  to 
books  on  web  design  and  digital  film- 
making and  assisted  in  making  docu- 
mentaries about  architecture  and 
garbage. 


LISA  SELIN  DAVIS 

is  the  author  of  the  novel,  Belly,  forth- 
coming from  Little,  Brown  &  Co.,  and 
a  freelance  writer  in  New  York. 


MATT  DUNNE 

is  the  Democratic  state  senator  of 
Vermont,  and  founder  of  the  Vermont 
Film  Commission.  Previously,  he  served 
two  and  a  half  years  as  National  Director 
of  AmeriCorps  VISTA  (Volunteers  in 
Service  to  America)  and  four  terms  as  a 
Vermont  state  representative. 


RICK  HARRISON 

is  an  assistant  editor  at  The  Independent. 
He  has  a  master's  degree  in  journalism 
from  New  York  University  and  his  work 
has  appeared  in  Newsday,  The  Torward, 
The  Daily  News,  Our  Town  and  The 
West  Side  Spirit.  His  more  mindless 
musings  can  be  read  at: 
www.rolling  bones.blogspot.com. 


6    The  Independent  I  April  2005 


UTORS 


DEREK  LOOSVELT 

has  written  for  publications  including 
Brill's  Content,  Inside.com,  and  Blue  mag- 
azine. A  graduate  of  the  University  of 
Pennsylvania,  Loosvelt  expects  to  receive 
an  MFA  in  creative  writing  from  The 
New  School  in  May  2005.  He  lives  in 
Brooklyn. 


STEPHEN  MARSHALL 

is  an  author  and  award-winning 
(Sundance,  Chicago  IFF)  documentary 
filmmaker.  As  the  co-founder  of  Guerrilla 
News  Network  (GNN.tv),  he  has  direct- 
ed controversial  music  videos  for  Beastie 
Boys,  Eminem,  and  50  Cent.  His  first 
narrative  feature,  This  Revolution,  was  an 
official  selection  at  Sundance  2005. 


FERNANDA  ROSSI 

is  a  filmmaker  and  script/documentary 
doctor.  She  also  leads  the  nationwide 
Documentary  Dialogues  discussions 
offered  by  AIVF  For  more  info,  visit 
www.documentarydoctor.com. 


DOUGLAS  SINGLETON 

writes  film  and  theater  criticism  for  The 
Brooklyn  Rail  and  L  Magazine.  His  web- 
site, www.dispactke.com,  features  pho- 
tography prose,  and  multi-media  experi- 
mentation. He  is  a  basketball  fanatic. 


Correction 

-We  regret  a  mistake  in  the  profile  of 
Marcelo  Zarvos  in  the  December  2004 
issue.  Zarvos  did  not  work  as  a  piano 
player  in  the  score  for  The  Sting,  but 
performed  a  piece  from  that  score  in 
his  debut  concert  in  Brazil.  Also,  he 
was  4  years  old  at  the  time,    not  10. 


Every  second  counts 

when  you  only  have 

48  hours  to  make 

a  film! 

w48HourFilm.cor 


EXPOSE 

Y0U#  IF 


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DVD  Release 
eqf  Revenue 

4/30/05 


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April  2005  I  The  Independent  7 


THE27TH  ANNUAL 

IFP  MARKET  &  CONFERENCE 

September  1 8-23    New  York  City 


CALL  FOR  ENTRIES 

-  Emerging  Narrative 

Scripts,  Shorts,  Work-in-Progress 

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Shorts,  Features,  Work-in-Progress 

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Scripts 

UNIQUE  OPPORTUNITIES 

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industry  executives 

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SUBMIT  ONLINE 

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-  Rolling  deadlines  begin  May  2 

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RECENT  SUCCESS  STORIES  FROM  THE  IFP  MARKET 


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I...IIII...II ii. i..i, ..ii. ..mi... 1. 1... .ii. i 


-  EBB 


Ear 


m 


■ 


HI 


NEWS 


Eyes  on  the  Prize 

The  cost  of  repeating  history 


By  Rick  Harrison 


The  original  six-part  series  includes  footage  of  Rosa  Parks — here  being  fingerprinted  by 
Deputy  Sheriff  D.H.  Lackey  on  Feb.  22, 1956 — who  was  among  100  people  charged  with  vio- 
lating segregation  laws  (AP  Photo/Gene  Herrick) 


In  1955,  African  American  Congress- 
man Charles  Diggs  from  Detroit 
arrived  in  Mississippi  to  attend  the  trial 
of  the  two  men  responsible  for  the  racial- 
ly-motivated murder  of  15-year-old 
EmmettTill.  Sheriff  Clarence  Strider  and 
his  deputies  barred  him  from  entering, 
and  a  black  journalist  tried  to  explain 
who  Diggs  was,  only  to  be  met  by 
incredulity.  "This  nigger  said  there's  a 
nigger  outside  who  says  he's  a  congress- 
man," one  of  the  deputies  said.  To  which 
another  deputy  replied,  "A  nigger 
congressman?" 

Yes,  this  was  a  very  different  country. 


Such  scenes  of  history  written  with 
indelible  images,  sounds,  and  emotions 
comprise  the  14  hours  of  the  award-win- 
ning documentary  Eyes  on  the  Prize,  the 
first  six  parts  of  which  aired  on  PBS  in 
1987.  They  are  scenes  that  to  a  young 
audience  might  feel  as  though  they  were 
crafted  for  a  science  fiction  film  or  an 
episode  of  "The  Twilight  Zone."  But  they 
are  all  too  real  and  recently,  all  too  in  dan- 
ger of  vanishing  from  sight  because  of  the 
expense  of  renewing  copyrighted  material. 

Like  so  many  documentary  filmmak- 
ers, the  producers  at  the  Boston-based 
Blackside  Inc.,  founded  and  led  by  Henry 


Hampton,  had  limited  funds  to  secure 
the  rights  to  the  heap  of  archival  footage, 
photographs,  and  music  that  defined  the 
Civil  Rights  Movement.  Most  of  the 
clearances  expired  five  years  after  the 
film  first  aired  on  PBS.  The  first  six  parts 
last  aired  in  1994,  and  the  eight-part 
sequel,  Eyes  on  the  Prize  II:  America  at  a 
Racial  Crossroads  (1965-1985)  aired  in 
1990.  Henry  Hampton  died  in  1998 
before  he  could  renew  the  rights. 

Many  of  the  songs  sung  in  the  film 
include  new  lyrics,  requiring  clearances 
for  both  the  music  and  the  lyricist — 
something  not  always  easy  to  track  down. 
According  to  Rena  Kosersky,  music 
researcher  and  rights  coordinator  for  Eyes 
on  the  Prize  II,  to  release  the  entire  series 
today,  some  180  songs  need  clearances. 

"You  cannot  separate  the  movement 
from  the  songs,"  Kosersky  said.  (Or  sep- 
arate the  song  from  the  movement  in  the 
case  of  "We  Shall  Overcome,"  of  which 
the  writer's  royalties  go  to  a  civil  rights 
education  fund.)  And  if  a  license  can't  be 
acquired  because  the  song  is  in  litigation, 
the  owner  can't  be  found,  or  it's  too 
expensive?  "We  might  have  to  take  away 
that  moment  in  history  if  we  can't  change 
it,"  she  said. 

The  tape  collections  at  many  schools 
and  libraries  have  suffered  losses  and 
deterioration  over  time.  With  no  means 
to  replace  them,  the  film  is  like  an  endan- 
gered species,  and  one  integral  to  the 
depth  and  vigor  of  the  nation's  self- 
examination.  So  much  so,  that  some  peo- 
ple advocate  the  film's  distribution  no 
matter  what. 


April  2005  I  The  Independent    9 


"This  is  analogous  ro  stopping  the  cir- 
culation of  all  the  books  about  Martin 
Luther  King,  stopping  the  circulation  of 
all  the  books  about  Malcolm  X,  stopping 
the  circulation  of  books  about  the  found- 
ing of  America,"  said  Lawrence  Guyot, 
former  leader  of  the  Mississippi  Freedom 
Democratic  Party.  "I  would  call  upon 
everyone  who  has  access  to  Eyes  on  the 
Prize  to  openly  violate  any  and  all  laws 
regarding  its  showing." 

Guyot  joined  an  effort  by  Downhill 
Battle,  a  Massachusetts-based  activist 
group  that  organized  over  100  screenings 
in  28  states  in  February  to  publicize  the 
films  plight  and  bring  it  once  again  to  a 
mass  audience. 

The  group  originally  had  secured  a  dig- 
ital copy  of  the  film's  first  part  for  down- 
load on  their  website,  but  after  lawyers 
representing  Blackside  contacted  them  to 
protest  violation  of  their  copyright, 
Downhill  Battle  removed  the  link. 
Although  they  clearly  feel  organizing  the 
screenings  falls  well  within  the  fair  use 
provisions  of  copyright  law. 

"We  don't  believe  that  it's  civil  disobedi- 


ence," said  Nicholas  Reville,  co-director  of 
Downhill  Battle.  "We  think  it's  pretty  well 
covered  by  fair  use.  I  think  that  people 
should  be  compensated  for  their  work,  but 
we  need  to  be  thinking  about  the  public; 
some  things  are  just  so  important  that  we 
need  to  make  it  available." 

Sandy  Forman,  an  attorney  for 
Blackside,  disagrees  that  Downhill 
Battle's  efforts  are  helpful.  "We  appreciat- 
ed that  they're  interested  in  people  seeing 
this  project,  but  the  way  they're  going 
about  it  is  not  right  and  it's  illegal,"  she 
said.  "Even  if  their  motivation  is  a  good 
one,  they  can't  do  this." 

Under  a  $65,000  Ford  Foundation 
grant,  Forman,  along  with  four  one-time 
Blackside  producers  (the  company  now 
belongs  to  Hampton's  two  sisters  and  is 
inactive)  are  studying  the  technical  and 
copyright  issues  facing  the  film  with  the 
hope  of  determining  how  much  money 
will  be  needed  to  return  the  film  to  the 
public  access  and  educational  markets. 
Estimates  at  the  time  of  this  writing  reach 
to  about  $500,000. 

"We're  very  optimistic  that  this  will  be 


funded  and  back  on  the  air  next  year," 
Forman  said.  And  this  time,  she  hopes  all 
the  rights  can  be  granted  in  perpetuity. 

"I  don't  want  to  do  this  again,"  she  said 
with  a  sigh. 

Some  history  is  damn  expensive  to 
repeat. 

The  recent  plight  of  Eyes  on  the  Prize 
and  similar  historically  significant  films  has 
spurred  Sen.  Mary  L.  Landrieu  of 
Louisiana  and  Congressman  John  Lewis  of 
Georgia  to  explore  legislation  that  might 
ease  public  access. 

The  People's  Studio 

Nobody  in  New  York  likes  it  when  the 
city  closes  a  firehouse.  Mayors,  firefight- 
ers, and  neighborhoods  spar  over  costs, 
response  times,  and  diminishing  returns. 
But  whatever  the  detriment  or  virtue  of 
shutting  down  a  fire  station,  at  least  one 
of  the  city's  greatest  jewels  continues  to 
serve  the  community,  now  with  a  state- 
of-the-art  public  access  TV  studio. 

Just  south  of  Canal  Street,  Downtown 
Community  Television  Center  stands  on 


1  • 


A«ANBC  NEWS  ARCHIVES 


30   ROCKEFELLER  PLAZA,  NEW   YORK,  NY  10112 
TELEPHONE:  212  664   3797     FAX:  212   703  8558 


10  The  Independent  I  April  2005 


land  that  was  at  one  time  the  putrid  pit  of 
animal  and  chemical  waste  known  as 
Collect  Pond  and  then,  when  filled  in 
around  1812,  developed  into  the  putrid 
pit  of  downtrodden  humanity  known  as 
Five  Points. 

At  87  Lafayette  St.,  the  turrets  and 
crested  green  copper  roof  of  DCTV's 
headquarters  makes  the  building  look 
like  a  French  chateau  tucked  inside  mod- 
ern-day Chinatown.  But  the  bright  red 
garage  doors  give  away  the  building's  ori- 
gins as  the  home  of  Engine  31,  residents 
there  until  a  crack  in  the  foundation 
forced  them  out  in  1967. 

Jon  Alpert  and  Keiko  Tsuno,  two  doc- 
umentary fdmmakers  who  had  been 
teaching  free  video  production  work- 
shops from  their  Canal  Street  loft  since 
1972,  moved  DCTV  to  their  current 
location  in  1979.  The  city  declared 
the  building  to  be  a  landmark  in  1989. 
And  just  this  January,  DCTV  partnered 
with  Manhattan  Neighborhood  Network 
to  renovate  and  install  a  new  digital 
television  production  studio  and  control 
room. 


MNN  training  with  a  community  group,  Neighborhood  Economic  Development  Advocacy 
Project,  at  the  DCTV  studio  in  downtown  Manhattan  (MNN) 


The  studio  features  four  remote  cameras 
on  the  wood  floor,  one  on  the  grid  above 
and  flexibility  to  plug  in  one  or  two  hand- 
helds.  Producers  can  construct  a  set  or  use 
the  exposed  slate  walls. 

"I  love  the  warmth,"  said  Rick  Jungers, 
director  of  MNN's  community  media 
department.  "You  can  get  a  real  nice  look 


that  doesn't  look  like  a  studio." 

From  a  TV-1  line  to  MNN's  master 
control  room  at  59th  Street,  the  studio  can 
broadcast  from  the  new  site  to  anywhere 
in  the  world,  either  live  to  tape  or  provid- 
ing a  live  feed  with  the  help  of  a  rented 
satellite  uplink. 

The  control  room  features  new  moni- 


10% 

DISCOUNT 

to  AIVF 

MEMBERS 


I 


TRAILER  MECHANICS 

A  Guide  to  Making  Your  Documentary  Fundraising  Trailer 

Fernanda  Rossi 

The  Documentary  Doctor 

In  order  to  raise  money  to  make  a  documentary,  it  is  essential  to 
produce  a  trailer  that  will  capture  the  imagination  and  confidence 
of  grant-makers  and  investors.  Trailer  Mechanics  guides  the  film- 
maker step-by-step  through  the  entire  process  of  making  such 
fundraising  trailers. 


Order  at  www.documentarydoctor.com 


"Fernanda  Rossi,  the  Documentary  Doctor,  has  unitten  the  perfect  prescription 
for  your  documentary  doldrums.  Trailer  Mechanics — soon  to  become  the 
bible  on  this  topic  so  long  ignored  yet  so  central  to  the  process  of  creating 
and  funding  your  documentary. " 

Morrie  Warshawski  author  of  Shaking  the  Money  Tree: 
How  to  Get  Grants  and  Donations  for  Film  and  Television 


April  2005  I  The  Independent     11 


tors,  a  new  audio  mixing  board, 
controls  for  the  robotic  cameras,  and  a 
phone  system  that  can  allow  for  live  call- 
ins  simultaneously  on  all  four  MNN 
channels.  Content  can  be  recorded  to 
DVCAM,  and  an  engineer  can  pull 
content  off  the  web  and  convert  it  to  a 
TV  signal. 

Using  some  resources  already  at  their  community,  something 
disposal,  the  rebuild  cost  $80,000  with  Jungers  distinguishes 
another  $40,000  budgeted  for  this  year.  from  the  profit-oriented 
Jungers  estimates  that  if  they  were  to       networks. 


month  in  camera  work, 
editing,  and  produc- 
tion— for  free.  The  only 
requirement  is  to  be 
a  Manhattan  resident, 
satisfying  the  station's 
goal  to  make  television 
more   accessible   to    the 


_MX*K  M_  g  ,>    t? 


rsiJKWJS 


build  the  same  studio  from  scratch  it 
could  cost  around  $350,000. 

"There  are  communities  that  make 
more  with  less,  but  we're  right  up  there," 
Jungers  said.  "We're  one  of  the  flagship 
public  access  centers." 

MNN  offers  more  original  program- 
ming than  any  other  public  access  chan- 
nel: between  14  and  18  hours  a  day, 
seven  days  a  week,  including  over  800 
shows.  The  new  studio,  its  third  in 
Manhattan,  will  be  available  to  MNN 
for  20  hours  a  week,  while  DCTV's 
instructional  programs  PRO-TV  (for  at- 
risk  inner  city  youth)  and  ConnecTV 
(for  people  with  disabilities)  will  use  the 
remaining  time. 

MNN    trains    about    35    people    a 


COP 


*%.  «**,,„,,,  „ 


£— VIT**  **• 


»'<**(•«« 


"When  I  see  a  net- 
work news  van  in  my 
neighborhood,      I      get 

nervous,"    Jungers    said.     In  early  2004,  a  friend  of  a  teen  in  Brooklyn  who  was  filming  a  doc- 
"Somebody    died     The     umentary,  was  accidentally  shot  by  a  cop  patrolling  the  area 

j.  (DCTVNY) 

major    media    comes    in 

and   basically   strip-mines   us.   There   is  bullet  holes. 

more  to  a  neighborhood  than  mayhem  Terrence  Fisher  and  Daniel  Howard, 

and  murder."  two  teens  from  Bedford  Stuyvesant  in 

And  though  it  might  not  literally  save  New   York   City,    won    a    Special   Jury 

lives  anymore,  this  firehouse  can  spread  Award   for   Short   Filmmakers   for   their 


short  documentary  Bullets  in  the  Hood:  A 
Bed  Stuy  Story,  an  examination  of  gun 
violence  in  their  neighborhood  that  has 
killed  11  of  their  friends. 

But  no  amount  of  hard  lessons  in  the 


Bullets  in  the  Hood  examines  gun  violence  in  Bedford  Stuyvesant,  Brooklyn  (DCTVNY) 


something  other  than  water. 

Bullets  in  Park  City 

Of  all  the  success  stories  to  arrive  at 
this   year's   Sundance    Film    Festival    in 
Park  City,  Utah,  only  one  came  exhibit-      city's  hard  streets  could  prepare  the  film- 
ing   the    emotional    scars    of  so    many      makers    for   the    mountainous    celebrity 

zoo  that  is  Sundance. 

"We  went  snowboarding,"  said 
Howard,  18,  in  a  phone  call  from  Claflin 
University  in  South  Carolina  where  he's 
studying  media  and  TV  production. 
"You  don't  go  snowboarding  in  the  ghet- 
to very  often." 

In  January  2004,  Fisher,  19,  and 
Howard  were  filming  their  22-minute 
doc,  sponsored  by  PRO-TV,  a  program 
through  New  York's  nonprofit  media 
organization  Downtown  Community 
Television  Center,  when  Fisher's  friend 
Timothy  Stansbury  was  accidentally  shot 
to  death  by  a  city  police  officer  at 
a  rooftop  doorway.  Fisher  was  directly 
behind  Stansbury,  who  fell  back  on  him 
and  sent  them  both  tumbling  down  the 
stairs. 

The  already  passionate  film  became  an 
excruciating  document  of  a  neighbor- 
hood in  turmoil,  mourning  yet  another 


1?  The  Independent  I  April  2005 


senseless  death  and  railing  for  a  sense  of 
justice  when  apologies  aren't  enough. 
The  film  shows  the  family's  reaction 
after  a  grand  jury  did  not  indict  the 
police  officer,  exonerating  him  of  any 
purposeful  wrongdoing. 

The  emotions  generated  by  this  inti- 
mate portrait  of  helplessness,  anger,  fear, 
and  pain  translated  even  in  Park  City's 
upper  altitudes  and  upper  classes. 

"When  we  showed  it  at  Sundance, 
people  told  us  they  were  gonna  throw 
away  their  guns,"  Howard  said.  "People 
broke  down  crying.  It  was  really  heart- 
warming. We  were  bringing  our  envi- 
ronment out  there." 

Jasmine  Chauca,  18,  the  film's  editor, 
also  attended  the  festival  and  recalled  a 
pro-gun  cab  driver  who  told  the  film- 
makers that  there  wouldn't  be  a  gun 
problem  in  Brooklyn  if  people  would 
just  be  more  careful  with  them.  Chuaca 
hoped  the  movie  might  change  that 
impression. 


"It  opens  up  people  to  things  they 
don't  usually  see  and  issues  they  don't 
usually  think  about,"  she  said.  "Just 
that  we're  opening  people's  eyes — that's 
the  important  part." 

Howard,  Fisher,  Chauca,  cinematog- 
rapher/DP  Michelle  Watson,  and  their 
chaperones  attended  Sundance  with  the 
help  of  sponsors,  watching  a  slew  of 
new  films  and  hobnobbing  at  exclusive 
parties,  catching  glimpses  of  folks  like 
Ludacris  and  Snoop  Dogg. 

And  while  the  experience  was  fun 
and  eye-opening  for  this  year's  youngest 
filmmakers,  they  are  focused  on  the 
message  and  their  futures. 

"We're  just  trying  to  show  people  the 
horrors  of  gun  violence,"  Howard  said. 
"If  I'm  young  enough  to  get  my  film 
into  Sundance,  I'm  also  young  enough 
to  die  on  the  street." 


In  Memory:  Dirk  Koning 

We  wish  to  mourn  the  death  of  Dirk 
Koning,  whose  amazing  vision  energized 
the  community  media  and  tech  fields.  He 
died  on  February  10,  the  result  of  a  heart 
procedure  gone  wrong.  Dirk  Koning  was 
the  founding  director  of  the  Community 
Media  Center  in  Grand  Rapids,  Michigan 
in  1981.  The  CMC  is  a  national  model  for 
integrated  radio,  television,  and  internet 
applications  for  community  development. 
Koning  edited  the  national  magazine, 
Community  Media  Revieiv  and  was  presi- 
dent of  the  Washington  D.C. -based 
Alliance  for  Communications  Democracy. 
He  consulted  on  facilities  design,  wireless 
networks,  and  fund  development.  He  also 
wrote  and  spoke  internationally  on  social 
applications  of  information  technology.  ~k 

Dirk  Koning:  A  Life  Beautifidly  Lived: 
http:lldirkkoning  blogspot.  com 


April  2005  I  The  Independent     13 


In  Memoriam:  Ossie  Davis 


By  Douglas  Singleton 

Ossie  Davis  died  February  4  at 
age  87,  after  over  half  a  century 
of  making  films.  He  was  a 
revered  stage  and  film  actor,  writer,  pro- 
ducer, and  director,  but  foremost,  along 
with  his  lifelong  companion  and  wife 
Ruby  Dee,  a  relentless  social  activist. 

In  1976,  Davis  and  Dee  were 
approached  by  a  very  ambitious  Delta 
Sigma  Theta  sorority,  the  largest  African 
American  women's  organization  in  the 
United  States,  to  make  an  independent 
feature  film.  Amidst  the  era's  slew  of 
"blaxploitation"  films,  the  organization 
wanted  to  finance  a  movie  reflecting  their 
concern  for  moral  and  social  values  rather 
than  what  they  felt  were  the  typical  nega- 
tive African  American  cultural  chronicles 
of  the  day.  And  so  they  hunted  down  the 
couple,  whose  decades  of  experience  in 
the  film  industry  and  history  of  social 
activism  made  them  obvious  choices  for 
such  a  project.  The  result  was  Countdown 
at  Kusini  (1976),  a  thriller  set  in  a  myth- 
ical African  nation  that  dramatized  the 
need  for  solidarity  amongst  people  of 
color  across  the  globe.  The  film  is  note- 
worthy as  the  first  American  feature 
filmed  entirely  by  an  African  American 
crew,  financed  by  a  private  black  organi- 
zation. In  an  interview  in  S.  Torriano  and 
Venise  Berry's  The  50  Most  Influential 
Black  Films,  Davis  said  of  Kusini,  "the 
most  important  thing  about  the  venture 
is  the  questions  it  poses  and  the  lessons  it 
teaches." 

The  oldest  of  five  children,  Ossie 
Davis  was  born  Raiford  Chatman  Davis 
in  Cogdell,  Georgia  on  December  18, 
1917.  A  county  clerk  misunderstood  his 
mother's  articulation  of  his  initials  "R.C." 
for  "Ossie" — and  the  name  stuck.  The 
young  Davis  attended  Howard 
University,  studying  English,  but  soon 
moved  to  New  York  City  and  joined 
Harlem's  Rose  McClendon  Players.  His 
Broadway  debut  was  in  the  1946  drama 
Jeb,  playing  the  lead,  a  soldier  returning 
from  World  War  II  doing  battle  with  the 
Ku  Klux  Klan.  It  was  one  of  many 
instances  in  which  Davis  chose  roles  of  a 


complex  nature  rather  than  the  usual 
stereotypes  offered  African  American 
actors  at  the  time.  It  was  in  this  produc- 
tion that  he  met  Ruby  Dee,  also  making 
her  Broadway  debut.  Though  Jeb  lasted 
only  nine  performances  it  produced  a 
lifelong  union — the  pair  were  married  in 
1948  and  had  three  children,  actor  Guy 
Davis,  Nora,  and  Hasna.  Davis  made  his 
movie  debut  in  the  1950  examination  of 
racism,  No  Way  Out,  also  the  debut  of  star 
Sidney  Poitier.  In  their  joint  autobiogra- 
phy, With  Ossie  and  Ruby:  In  This  Life 
Together,  the  couple  recalled  lives 
immersed  in  New  York  City's  artistic 
community,  years  of  activism  in  the  civil 
rights  struggle,  and  vigorous  opposition 
to  Sen.  Joseph  McCarthy's  Communist 
witch  hunt. 

Ossie  and  Ruby  helped  organize  the 
1963  civil  rights  March  on  Washington, 
serving  as  MCs  of  the  event.  Davis  deliv- 
ered the  eulogy  at  Dr.  Martin  Luther 
King  Jr.'s  funeral  in  1968,  as  he  had  done 
so  memorably  at  the  funeral  of  Malcolm 
X  in  1965:  "Consigning  these  mortal 
remains  to  earth,  the  common  mother  of 
all,  secure  in  the  knowledge  that  what  we 
place  in  the  ground  is  no  more  now  a 
man  but  a  seed  which,  after  the  winter  of 
our  discontent,  will  come  forth  again  to 
meet  us." 

Davis  was  one  of  the  first  African 
American  film  directors  of  the  modern 
era,  directing  the  adaptation  of  Chester 
Himes's  detective  drama  Cotton  Comes  to 
Harlem  in  1970  and  Kusini  in  1976.  He 
penned  his  first  movie  in  1963,  Gone  Are 
The  Days'.,  which  was  an  adaptation  of  his 
Broadway  play  Purlie  Victorious,  in  which 


he  starred  with  his  wife.  He  continued  to 
act  on  the  stage  after  he  had  launched  a 
screen  career,  performing  in  the  stage  ver- 
sion of  A  Raisin  In  The  Sun  in  1959,  and 
the  successful  run  of  I'm  Not  Rappaport'm 
1986.  Davis  was  inducted  into  the 
Theater  Hall  of  Fame  in  1994. 

He  was  the  recipient  of  dozens  of 
awards  during  his  lifetime,  including  the 
NAACP  Image  Award  in  1989,  the  US 
National  Medal  for  the  Arts  in  1995, 
and,  along  with  his  wife,  the  Kennedy 
Center  Honors  in  2004.  The  book  he 
wrote  about  the  young  Frederick 
Douglass,  Escape  To  Freedom,  was  hon- 
ored by  the  American  Library  Association 
and  received  the  Jane  Addam's  Children's 
Book  Award. 

Later  in  life,  Davis  became  known  for 
his  work  with  director  Spike  Lee  in  Do 
the  Right  Thing  (1989),  Jungle  Fever 
(1991),  and  Get  On  the  Bus  (1996),  and 
reread  parts  of  his  Malcolm  X  eulogy  at 
the  close  of  Lee's  Malcolm  X  (1992).  A 
champion  of  independent  film  through- 
out his  life,  one  of  Davis's  last  films  was 
the  outrageous  2002  B-movie,  Bubba 
Ho-Tep,  in  which  he  played  an  Africa 
American  man  in  a  retirement  home  with 
a  very  undead  Elvis  who  claims  to  actual- 
ly be  John  F.  Kennedy  (something  to  do 
with  the  FBI  and  implanted  "skin 
grafts"). 

Countdown  at  Kusini  was  yanked  from 
theaters  by  distributors  before  it  ever  had 
a  chance  to  have  the  effect  Davis  and  the 
Delta  sorority  wanted.  It  lost  money  and 
nearly  ruined  the  tenures  of  the  sorority's 
leadership.  But  Davis  nevertheless  felt  it 
was  a  historic  venture  because  of  the 
example  it  set  as  creative  social  activism. 
Unseen  by  anyone  since  its  1976  run  of  a 
few  days,  and  seemingly  lost  to  the  annals 
of  history,  Davis  hoped  that  someday  the 
film  would  be  rediscovered  and  given  the 
due  it  was  never  allowed  in  its  time. 

This  spirit  of  dogged  artistic  resolve 
and  social  awareness  characterized  a  life 
that  stands  as  an  example  to  all  those 
aspiring  to  socially  relevant  art.  He  will 
be  dearlv,  dearlv  missed,  ir 


14  The  Independent  I  April  2005 


was  once  a  filmmaker  named  Pete*, 
was  burnt,  overbudget,  and  beat. 
His  mind  fell  apart,  producing  indie  art  and 
^rhis  footage  fell  down  in  a  heap. 
b  ROGUE  POST'S  door  he  did  crawl,  in  armchairs  he'd  fall 
and  begged  us  to  make  it  complete, 
uccino  in  hand,  feet  far  from  the  beach's  sand, 
Pete  watched  our  skilled  sleight  of  hand. 
n^^nYs  said  and  done,  Pete  knew  that  he'd  won 
is  flick  was  creative  and  fresh  and  in  demand! 

Film  Producer,  ... 


p:   2  1  2-366-SOI   1 

f:    2  12-989-5  195 

email:    IMF-0@ROC3UEPOST.COM 


EMAIL:     INPO@ROC3UEPOST.eC 

rogue  pos^' 


Indie  and  Film  Festival  Rates 


film 


BROADCAST 


*not  his  real  name 


COMMERCIAL 


Film/Video 

Bachelor  of  Fine  Arts 


Digital  Video  •  16mm  Film  •  Lighting/Set  Design 
Cinematography  •  Film  Editing  •  Audio-Post  Production 
Script  Writing  •  Film  History  •  AVID  Non-Linear  Editing 
Directing 


1.631.424.7000  X2110    www.ftc.edu 


ME  TOWNS  COLLEGE 

E-mail  Admissions@ftc.edu 

305  N.  Service  Road  Dix  Hills,  N.Y.  11746-5871 


Please  send  me  a  Fife  Tonus  College  Catalog 


Name  _ 
Address 
Town  — 


State/Zip 

Telephone  ( ■ 
Email  Address  _ 
Year  of  Interest 


.@. 


I    I  Fall  □  Spring  □  Summer 


i. 


I    I  Undergraduate    □  Graduate 


PRODUCTION  JOURNAL 


TJii&  REVOLUTION 


By  Stephen  Marshall 

In  June  2004,  I  watched  Ted  Demme's 
inspirational  profile  of  70s  filmmak- 
ers, A  Decade  Under  the  Influence, 
which  is  basically  a  call-to-arms  for  indie 
auteurs  to  use  whatever  means  they  have 
at  their  disposal  to  make  movies. 
Afterward,  I  just  started  riffing  with  a 
producer  friend,  Bob  Jason,  on  how  the 
time  was  ripe  for  a  radically  politicized 
homage  to  the  Cassavetes  era.  Jason 
agreed,  so  I  went  full  force  and  pitched 
him  and  his  production  company 
Co.Op,  the  concept  of  an  updated  hom- 
age to  Haskell  Wexler's  cinema  verite 
classic,  Medium  Cool.  Set  against  the 
chaotic  and  hyper-militarized  backdrop 
of  the  1968  Democratic  National 
Convention,  Wexler's  narrative  effectively 
blurred  the  lines  between  reality  and  fic- 
tion, forcing  viewers  to  question  the 
responsibility  media  has  to  its  audience 
and  the  society  as  a  whole.  For  many 
American  cinephiles,  it  is  one  of  the  most 
important  films  to  emerge  from  that  era. 
With  the  Republican  National 
Convention  coming  to  New  York  in  less 
than  90  days,  Jason  cautioned  that  we'd 


probably  have  to  shoot  the  narrative  ele- 
ments after  the  protesters  left  the  city. 
But  I  argued  we  would  need  the  tension 
and  drama  of  the  approaching  conven- 
tion to  get  the  most  out  of  our  actors — 
especially  ir  we  wanted  to  set  the  third  act 
in  the  streets  of  Manhattan  during  the 
protests.  Jason  brought  in  his  partner 
Bob  Kravitz  to  vet  the  idea.  Kravitz  was 
skeptical,  but  he  could  see  the  value  of  a 
run-and-gun  shoot  that  stole  production 
values  from  what  would  potentially  be 
the  largest  gathering  of  activists  since  the 
Vietnam  War.  "Get  us  a  script  that  can 
attract  some  major  talent,  and  we'll  set 
you  up  for  a  mid-August  shoot,"  he  said. 
In  three  days  I  had  a  10-page  treat- 
ment. Two  weeks  later  there  was  a  first 
draft.  Co.Op  threw  down  the  money  for 
development,  and  I  began  working  with 
Nathan  Crooker,  a  young  director  and 
cinematographer  who  had  just  finished 
directing  a  series  of  commercials  at  the 
company.  Despite  the  fact  that  Crooker 
had  no  feature-level  acting  experience, 
my  gut  instinct  was  to  cast  him  in  the 
lead   role   of  Jake   Cassavetes,    the   hot- 


blooded  war  shooter  who  returns  from 
Iraq  and  is  assigned  by  the  network  to  get 
embedded  with  radical  elements  of  the 
American  political  underground.  I  knew 
we  would  need  to  depend  on  Jake's  RNC 
footage  as  much  as  our  camera  crew's, 
and  so  the  actor  needed  to  be  able  to 
shoot  as  well  as  any  real  cameraman. 

Once  the  third  draft  was  completed,  we 
sent  it  to  Adrienne  Stern  to  cast,  and 
Crooker  and  I  took  off  to  Boston  for  the 
Democratic  National  Convention  to 
shoot  the  opening  credit  sequence  and  do 
tests  to  see  if  Crooker  could  carry  the  part. 

When  we  got  to  Boston,  we  found  a 
fortress  city.  The  streets  around  the 
Convention  Center  were  fenced  off  and 
surrounded  by  police  officers,  secret  serv- 
ice agents,  snipers,  and  heavily  armed  state 
troopers.  Crooker  and  I  spent  four  days 
embedded  with  the  various  anarchist  col- 
lectives protesting  the  DNC,  shooting 
footage  from  both  Jake's  and  the  narrative 
(third  person)  cameras.  The  opening 
scene  of  the  film  is  shot  from  Jake's  POV 
as  he  repeatedly  asks  a  masked  anarchist 
why  they  cover  their  faces.  With  each  suc- 


16  The  Independent  I  April  2005 


cessive  question,  the  protester  gets  more 
annoyed,  until  he  finally  grabs  Jake's  cam- 
era and,  looking  directly  into  the  lens,  says 
"I  know  who  you  are,  I  know  what  you  are 
doing,  and  I  am  going  to  smash  your  shit 
to  the  ground." 

Charles  Maol  is  a  dedicated  activist 
whom  I  have  known  for  many  years.  He 
agreed  to  act  as  the  films  protest  coordi- 
nator at  both  the  conventions  as  well  as 
playing  the  part  of  this  angry  anarchist  in 
the  opening  scene.  But  each  time 
Crooker  approached  Maol  with  his  cam- 
era to  elicit  the  angered  response,  other 
activists  in  the  crowd  mistook  it  for  a  true 
confrontation  and  had  to  be  restrained 
from  attacking  Crooker.  This  added  an 
incredibly  hot  layer  of  tension  to  the 
scene,  which  we  eventually  pulled  off  on 
the  third  take. 

On  the  final  day  of  the  convention,  just 
hours  before  the  delegates  would  leave  the 
city,  a  fight  broke  out  between  protesters 
and  the  Boston  police.  It  came  after  a  rash 
of  arrests  in  the  so-called  "free  speech  pen" 
outside  the  Convention  Center.  The  pro- 
testers began  to  link  arms  and  surround  a 
small  unit  of  police  officers.  When  the 
police  began  to  push  back,  one  kid 
grabbed  the  hat  off  a  cop's  head  and  the 
melee  began.  From  the  edge  of  the  strug- 
gle, I  kept  my  camera  locked  on  Crooker, 
who  had  positioned  himself  directly  in  the 
middle  of  the  fight.  Despite  being  repeat- 
edly hit  with  billy  clubs,  he  stuck  with  the 
action  and  shot  what  would  become  the 
action-packed  opening  credit  sequence  for 
This  Revolution. 

Back  in  New  York,  with  three  weeks 
left  before  the  proposed  commencement 
of  principal  photography,  we  began  to 
cast  roles.  Though  we  would  be  produc- 
ing the  film  on  a  shoestring  budget,  there 
was  a  lot  of  pressure  to  attract  some  name 
talent — especially  if  I  wanted  to  give  the 
lead  role  of  Jake  Cassavetes  to  Nathan 
Crooker.  In  less  than  two  weeks  we  cast 
a  majority  of  the  parts,  giving  leads  to 
Rosario  Dawson,  Amy  Redford,  and 
Brendan  Sexton  III.  We  also  nailed  down 
over  40  locations,  many  of  which  were 
attained  at  no  cost. 

The  basic  story  of  This  Revolution  fol- 
lows Jake's  journey  from  the  corporatist 
realm  of  news  media  into  a  more  radical- 
ized and  underground  political  environ- 


April  2005  I  The  Independent   17 


t                               > 

NBPC 

National  Black 
Programming  Consortium 

Chisholm    '72: 

Unb ought   and 

Unbossed 

brother  to  brother 

A  Place  of  Our  Own 

FLAG  WARS 

This  Far  By  Faith 

A  Huey  P.   Newton 
Story 

f                                           \ 

FUNDING  FILMMAKERS 

SINCE  1979 

The  National  Black 

Programming  Consortium 

(NBPC)  is  devoted  to  the 

production,  distribution 

and  promotion  of  diverse 

film  and  videos  about 

African  Americans  and 

the  experiences  of  the 

African  Diaspora. 

V                                           J 

For  more  information       ■ 

about:                    ,* 

•Grants                  | 

•Workshops              ■ 

•Acquisitions 

•Distributions 

visit  www.nbpc.tv 
or  write  to: 

NBPC 

68  East  131  st  Street 

7th  Floor 
New  York,  NY  10037 

212-234-8200 

info@nbpc.tv 

RFP  Applications  now 
available! 
1         Submission  Deadline 
June  3,  2005 

DP  Brian  Jackson  and  camera  crew  after  the  arrest  (photo  courtesy  of  Stephen  Marshall) 


ment  when  he  discovers  the  network  is 
giving  his  footage  of  anarchists  to  The 
Department  of  Homeland  Security,  Jake 
is  forced  to  take  sides  and  decide  whether 
he  should  risk  his  social  and  financial 
security  in  order  to  take  revenge  against 
the  system  that  has  betrayed  him.  His 
moment  of  personal  revolution  is 
inspired  by  that  of  Rosario  Dawson's 
character,  Tina,  who  has  chosen  the  radi- 
cal anarchist  Black  Bloc  movement  as  a 
means  of  channeling  her  rage  at  the  gov- 
ernment for  taking  her  husband  to  his 
death  in  Iraq. 

The  majority  of  the  shoot  took  place 
in  Manhattan's  Lower  East  Side.  During 
one  very  hectic  day  of  shooting,  Rosario 
remarked  that  we  were  moving  at  about 
four  times  the  speed  of  a  "normal"  film 
schedule.  Over  a  two-week  period,  we 
shot  12  days  at  an  average  of  18  hours  a 
day.  Because  of  the  compressed  schedule 
and  pressure  to  move  between  locations, 
the  actors  often  only  had  one  or  two 
takes  to  get  a  scene. 

Each      morning,      as      the      RNC 


approached,  headlines  in  the  New  York 
papers  grew  ever  more  shrill  and  omi- 
nous. Threats  of  terrorist  bombings  and 
anarchist  attacks  on  the  city  added  a 
dimension  of  realism  to  the  fictional  con- 
struct that  had  been  set  against  the  immi- 
nent convention.  On  the  first  day  of  the 
RNC,  we  brought  in  Rosario,  the  four 
members  of  her  Black  Bloc  "cell,"  and  the 
rest  of  the  crew  to  be  briefed  by  Charles 
Maol.  Though  we  had  been  given  loose 
permits  to  shoot  scenes  of  the  Bloc  in  the 
actual  protests,  there  was  no  guarantee 
that  we  could  avoid  tear  gas,  mass  arrests, 
or  even  a  potential  Al  Qaeda  hit.  So  the 
group  wrote  the  numbers  of  our  lawyers 
on  their  forearms  and  equipped  them- 
selves with  gas  masks  in  case  of  an  attack. 
The  most  critical  scene  for  us  to  shoot 
that  day  involved  a  chase  sequence 
between  Jake,  the  Black  Bloc,  and  under- 
cover police  officers  dressed  as  protesters. 
We  had  to  find  a  street  that  was  not  too 
hotly  lit  but  which  also  had  enough 
protest  action  to  give  a  realistic  backdrop 
to  the  scene.  Adding  to  the  circus-like 


18    The  Independent  I  April  2005 


atmosphere  of  the  shoot  were  crews  from 
"Entertainment  Tonight"  and  the  New 
York  Daily  News,  who  had  asked  to  tag 
along  for  the  day.  Try  to  imagine  the 
scene:  television  crews  following  and 
shooting  our  crew  who  were  following 
and  shooting  Jake  who  was  following  and 
shooting  the  fictional  Black  Bloc 
activists. 

As  we  made  our  way  down  one  street 
toward  the  main  march,  we  heard  sirens 
and  then  saw  a  police  van  pull  up  on  the 
sidewalk  ahead  of  us.  Seconds  later,  with 
all  cameras  rolling,  six  NYPD  officers 
had  surrounded  the  Black  Bloc  actors 
and  pushed  Rosario  Dawson  and  Vija 
Brigita  Grosgalvis  onto  the  hood  of  a  car. 
When  they  started  to  cuff  them,  Rosario 
protested  and  tried  to  pull  her  mask 
down  to  explain  the  situation.  The  officer 
slammed  her  back  onto  the  car  hood  and 
placed  steel  handcuffs  on  her  wrists.  One 
woman  who  witnessed  the  entire  scene 
broke  into  tears  and  began  sobbing 
uncontrollably. 

Over  the  next  five  minutes,  with  our 


Nathan  Crooker  and  Rosario  Dawson  review 
footage  (photo  courtesy  of  Stephen  Marshall) 


entire  crew,  the  news  media  and  hun- 
dreds of  onlookers  milling  around,  I  tried 
to  present  our  permits  to  the  arresting 
officer.  Each  time,  he  refused  to  look  at 
the  paper  and  pushed  me  back  onto  the 
sidewalk.  Finally,  as  it  became  clear  that 
Rosario  and  Vija  were  going  to  be  arrest- 
ed for  breaking  the  city's  prohibition  on 
wearing  masks  at  protests,  I  demanded  he 
look  at  the  documents.  With  that,  I  was 
arrested  for  obstruction  of  justice  and 
hauled  into  the  back  of  the  van  with 
Rosario  and  Vija,  both  of  whom  had 
been  unable  to  pull  the  black  bandanas 
from  their  faces. 

During  the  next  four  hours,  we  were 
shuttled  from  the  local  precinct  to  the 
makeshift  detention  center  at  Pier  57. 
Separated  by  15-foot-high  fences  rimmed 
with  barbed  wire,  we  waited  for  our  files 
to  be  processed  so  we  could  be  taken 
down  to  central  booking.  We  were  some 
of  the  first  people  to  be  arrested  that 
day — eventually  thousands  more  inno- 
cent, law-abiding  citizens  would  pass 
through  the  facility — so  we  were  handled 
relatively  quickly.  When  I  finally  got  into 
the  cell  downtown,  I  was  able  to  call  Lisa 
Hsu,  the  films  producer.  She  explained 
that  Brian  Jackson,  the  film's  brilliant 
DP,  was  out  with  the  rest  of  the  cast  and 


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April  2005  I  The  Independent   19 


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Jake  shooting  in  Times  Square 
(photo  courtesy  of  Stephen  Marshall) 

crew  shooting  as  much  of  the  third  act  as 
he  could.  Realizing  that  we  would  not  be 
able  to  take  Rosario  back  out  into  the 
protests  after  this  fiasco,  Lisa  and  I  sat  on 
the  phone  for  an  hour,  re-writing  the  cli- 
max of  the  film.  She  had  already  seen 
footage  of  the  arrest  shot  by  Brian  at  the 
scene  and  felt  it  would  be  perfect  for  the 
film.  It  had  given  us  a  high-production 
value  climax  that  we  could  never  have 
planned  for  and  created  a  more  powerful 
consequence  of  the  network's  betrayal  of 
Jake  to  Homeland  Security,  specifically 
the  identification  and  arrest  of  Tina. 

That  event  changed  the  entire  course  of 
the  film  and  ultimately  became  a  pivotal 
moment  in  the  story,  providing  us  with  a 
perfect  alchemy  of  the  documentary  and 
narrative  genres.  Once  principal  photog- 
raphy was  wrapped,  we  rushed  into  the 
edit  and  had  our  cut  ready  for  the 
Sundance  deadline  (a  week  late,  actually), 
completing  the  entire  process,  from  con- 
ception to  final  cut,  in  100  days. 

Though  there  were  many  compromises 
due  to  the  speed  and  approach  I  took  to 
the  production,  the  main  intention  of 
making  a  film  that  quickly  was  in  having 
a  relevant  social  document  that  could 
reflect  the  social  upheaval  of  our  current 
era.  So  often  this  is  left  to  the  documen- 
tary genre,  and  we  lose  the  more  beautiful, 
tragic,  and  heroic  elements  that  can  be 
sheathed  in  a  narrative  structure.  I  hope 
that  This  Revolution  can  contribute  to  the 
legacy  of  verite  filmmaking  and  honor  the 
tradition  established  by  artists  like  John 
Cassavetes  and  Haskell  Wexler.    'k 


20  The  Independent  I  April  2005 


Tamara  E. 
Robinson 

vice  president 
and  director  of 
programming  at 

thirteen/wnet 

NEW  YORK 


By  Rebecca  Carroll 

Rebecca  Carroll:  Where  are  we  with 
public  television?  What  do  people — 
both  those  who  are  watching  and  not 
watching — need  to  know  about  public 
television  now  that's  different  from  10 
years  ago? 

Tamara  E.  Robinson:  Perhaps  the  most 
important  thing  to  underscore  is  some- 
thing often  taken  for  granted:  Public  tel- 
evision is  free  of  charge,  and  available  to 
all.  We're  a  full-time  provider  of  quality 
programming  to  a  very  diverse,  very 
demanding  population.  We're  also  one  of 
the  country's  most  powerful  and  cost- 
effective  educational  forces.  That  hasn't 
changed.  But  the  broadcast  landscape 
has — dramatically. 

Ten  years  ago,  there  were  three  major 


networks,  public  television,  and  a  hand- 
ful of  cable  alternatives.  We're  now  oper- 
ating in  a  500-channel  universe,  which 
means  confronting  and  overcoming 
numerous  challenges.  We're  more  vulner- 
able than  ever  to  the  vicissitudes  of  the 
economy.  Funding  is  a  full-time  effort. 
We're  also  working  hard  every  day  to  take 
advantage  of  the  latest  technologies  the 
market  has  to  offer.  Today,  Thirteen/ 
WNET  is  expanding  its  service  through  a 
range  of  pioneering  efforts — including  its 
merger  with  its  sister-station,  WLIW21, 
and  the  inauguration  of  new  digital  and 
Video  On  Demand  channels.  In  the  end, 
it's  all  about  better  television. 

RC:  What  are  some  of  the  biggest 


misconceptions  about  public  TV? 

TR:  That  public  television  is  stodgy, 
old  fashioned,  hard  to  watch,  not  timely, 
not  relevant,  has  no  humor  and  is  for 
women  over  55.  The  reality  could  not  be 
more  different.  Our  viewers  reflect  our 
programs — they're  interesting,  they're 
curious,  they're  diverse. 

RC:  What  kind  of  cross-pollination 
occurs  between  public  television  and 
independent  film? 

TR:  There  has  always  been  cross-polli- 
nation between  public  television  and 
independent  film,  and  Thirteen/WNET 
continues  to  be  a  leader  in  this  area. 
Thirteen/WNET  was  one  of  the  first — if 
not  the  first — to  provide  a  regular  forum 


April  2005  I  The  Independent    21 


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tor  independent  film  and  producers, 
starting  from  the  TV  Lab,  to  becoming  a 
founding  partner  of  American 
Documentary  Fund,  which  gave  birth  to 
P.O.V.  Our  portfolio  includes:  "Reel 
NY,"  "Cantos  Latinos,"  "Due  East," 
"Umoja!,"  and  "Out!."  As  well  as 
a  plethora  ot  programming  provided  by 
independents  as  a  part  of  our  ongoing 
strands:  "Great  Performances," 

"American  Masters,"  "Nature,"  "Wide 
Angle,"  and  virtually  all  of  our  limited 
series,  such  as  the  recent  Slavery  and  the 
Making  of  America,  which  the  New  York 
Daily  News  called  "the  most  powerful  and 
important  television  work  on  the  subject 
since  'Roots'  in  1977." 

Its  worth  noting  that  series  producer 
Dante  J.  James  is  an  independent  film- 
maker currently  pursuing  a  master's 
degree  at  Duke  University  while  develop- 
ing new  projects.  Mr.  James  also  pro- 
duced the  Emmy-nominated  Marian 
Anderson  and  Politics:  The  New  Black 
Power,  chosen  by  The  New  York  Times  as 
one  of  the  best  documentaries  of  1990. 
We're  proud  of  our  association  with  inde- 
pendents like  Mr.  James. 

RC:  And  what  are  the  differences 
between  the  two?  I  think  some  people 
feel  as  though  public  television  is  this 
sort  of  "other"  entity,  and  because 
independent  film  has  this  hip  cache, 
never  the  twain  shall  meet  kind  of 
thing.  Your  thoughts? 

TR:  Most  of  the  work  on  public  tele- 
vision is  produced  by  a  diverse  slate  of 
independents,  many  of  which  have 
received  the  highest  honors  television  has 
to  offer.  Public  television,  especially 
Thirteen/WNET,  has  always  been  fueled 
by  the  independent  creative  spirit,  which 
we've  nurtured  since  day  one  as  the  pre- 
senting station  for  such  now  famous  doc- 
umentarians  as  Frederick  Wiseman,  Ken 


Burns,  Ric  Burns,  Alan  and  Susan 
Raymond,  Anne  Makepeace,  Sam 
Pollard,  Mustapha  Khan,  Nam  June  Paik, 
and  a  host  of  others. 

RC.  What  is  WNET's  position  on 
commercial  advertising?  Both  as  a  sta- 
tion model  and  as  a  station  that  needs 
to  maintain  and  grow  itself? 

TR:  It's  simple:  We  do  not  take  com- 
mercial advertising.  We  are  a  private, 
nonprofit  corporation.  As  such,  Thirteen 
members  remain  our  most  reliable  source 
of  financial  support.  This  keeps  us  unen- 
cumbered and  beholden  to  no  one  and 
helps  us  provide  a  positive,  non-cluttered 
environment  for  our  viewers.  At  the  same 
time,  dedicated  philanthropic  organiza- 
tions and  private  corporations  have  long 
been  a  vital  source  of  general  operating 
support  for  Thirteen. 

RC:  How  can  independent  filmmak- 
ers get  involved  with  public  television? 

TR:  Independents  are  an  integral  part 
of  Thirteen  and  we  are  always  in  the  mar- 
ket for  challenging  ideas  and  new  pro- 
posals from  a  tresh  pool  of  creative  talent. 
Anyone  can  pitch  ideas  to  any  public  tel- 
evision station  like  Thirteen,  which 
accepts  treatments,  full-length  proposals, 
and  completed  programs  for  evaluation. 
Or,  filmmakers  can  send  in  a  letter  of 
inquiry  to  see  if  there  is  possible  interest 
before  sending  in  full-length  materials. 

RC:  Are  you  constantly  aware  of  the 
moral  high  ground  public  television 
represents?  Or  is  assigned?  And  is  it 
fairly  assigned  as  such? 

TR:  Our  mission  statement  is  pretty 
clear:  "Through  its  productions,  broad- 
casts, and  educational  outreach  activities, 
Thirteen/WNET  New  York  pursues  a 
single,  overarching  goal:  to  create  televi- 
sion and  interactive  media  experiences  of 


22  The  Independent  I  April  2005 


lasting  significance  for  all  segments  of  the 
population — in  the  New  York  metropol- 
itan area,  across  America,  and  world- 
wide." We  are  very  mindful  of  this  and 
would  never  to  anything  to  jeopardize  the 
public's  trust. 

RC:  What  are  some  of  the  program- 
ming choices  that  you  would  never 
make  for  WNET?  And  why? 

TR:  We  would  never  produce  pro- 
gramming that  would  intentionally  mis- 
lead or  provide  false  information  to  the 
viewer.  We  take  very  seriously  our  duties 
as  broadcaster,  educator,  and  benefactor. 
Programs  like  "NOW  With  David 
Brancaccio"  and  "'The  Wall  Street  Journal 
Report"  offer  viewers  forums  for  explor- 
ing, understanding,  and  debating  the 
most  important  issues  of  the  day. 

RC:  Who  are  the  forgotten  heroes  of 
public  television?  Of  public  television 
as  a  concept,  a  medium,  an  art  form, 
and  as  something  to  be  protected  and 
revered? 

TR:  Hartford  Gunn,  first  president  of 
PBS,  who  set  the  vision;  Samuel  CO. 
Holt,  first  head  of  programming,  who  set 
the  standard  for  quality  and  intelligent 
programming;  Robert  A.  Mott,  first  head 
of  station  relations  for  PBS,  who  under- 
stood what  a  membership  means,  how  it 
works  and  how  a  national  organization 
needs  to  be  accountable;  and  John  Macy, 
first  head  of  the  Corporation  for  Public 
Broadcasting.  These  people  and  countless 
others  understood  that  the  "S"  in  PBS 
really  did  mean  service  and  each  day  they 
demonstrated  that  in  every  aspect  of  their 
work.  Now,  it's  our  responsibility  to  carry 
those  principles  forward,  to  continue  ask- 
ing the  big  questions,  and  to  rededicate 
ourselves  to  the  longstanding  tradition  of 
making  uncommonly  fine  TV.    -k 


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THE  UNIVERSITY  OF  TEXAS  AT  AUSTIN 


April  2005  I  The  Independent  23 


ON  THE  SCENE 


Journeys  in  Film:  A  Children's  Program 


Foreign  films  foster 
awareness  and 
tolerance 


By  Derek  Loosvelt 

Inside  Manhattan's  City  Hall  Academy 
on  a  dark  and  wet  Friday  morning  this 
past  February,  actor  Liam  Neeson 
introduced  some  35  New  York  City  pub- 
lic school  teachers  to  Journeys  in  Film,  a 
nonprofit  educational  program  using  fea- 
ture-length foreign  films  such  as  Whale 
Rider,  Bend  it  Like  Beckham,  and  The 
Cup  as  a  springboard  to  instill 
cultural  awareness  and  tolerance  among 
middle  school  students.  Neeson,  national 
spokesman  for  Journeys,  stressed  the 
importance  of  creating  global  citizens 
and  said  he  was  honored  to  be  in  a  room 
full  of  teachers,  explaining  that  he  comes 
from  a  family  of  teachers  himself  and 
highly  respects  the  profession.  Neeson 
ended  his  brief  introduction  by  telling 
the  teachers  their  work  is  vital  to  the 
long-term  well  being  of  the  United 
States.  "For  the  next  generation,"  he  said, 
"knowledge  of  the  world  is  no  longer  a 
luxury,  it's  a  necessity." 

Neeson's  appearance  was  followed  by  a 
Journeys  in  Film  workshop — a  profes- 
sional development  seminar  for  teachers 
sponsored  by  the  New  York  City  Board 
of  Education — that  included  sample  les- 
son plans  and  a  screening  of  Children  of 
Heaven,  another  film  used  in  Journeys 
curriculum. 

Journeys,  which  was  officially  unveiled 
to  more  than  4,500  students  in  seven 
cities  in  2004  and  could  reach  as  many  as 
50,000  students  in  the  2005-2006  school 
year,  is  the  creation  of  Joanne  Ashe, 
whose  background  certainly  informs  the 
program.  The  daughter  of  Polish  immi- 
grants, Ashe  grew  up  in  the  late  1950s 
and  1960s  in  Beverly,  Massachusetts, 
among  families  of  numerous  ethnicities. 


James  McDaniel  and  The  Lady  Warriors  in  Edge  of  America,  slated  for  next  year 
(Fred  Hayes/Showtime) 


She  holds  a  master's  degree  in  humanistic 
education  and  has  curated  art  exhibits  on 
racism  as  well  as  children's  mental  health 
issues.  She's  also  the  mother  of  two 
daughters  and  an  adopted  son,  who  is 
originally  from  Siberia.  That  experience 
prompted  Ashe  to  work  for  an  interna- 
tional adoption  agency  and,  later,  to  co- 
produce  The  Waiting  Children,  a  short 
documentary  taking  viewers  inside 
Russian  orphanages  that  appeared  at  the 
1998  Sundance  Film  Festival. 

Ashe,  who  serves  as  Journeys  executive 
director,  says  the  idea  to  teach  children 
through  film  came  to  her  during  the 
2001  Palm  Springs  International  Film 
Festival,  held  a  few  months  after  9/1 1 .  At 
the  festival,  Ashe  saw  nine  films,  two  of 
which,  she  says,  "stood  out  and  got  me 
thinking."  One,  Abandoned  (2001),  writ- 
ten and  directed  by  Hungarian-born 
Arpad  Sopsits,  follows  a  young  boy 
thrown  into  an  orphanage  even  though 
his  parents  are  still  alive.  The  second, 
Baran  (2001),  written  and  directed  by 
Iranian  filmmaker  Majid  Majidi,  focuses 
on  an  unlikely  relationship  in  Tehran 
between   a    17-vear-old   Kurdish  worker 


and  a  young  Afghan  with  a  secret.  "After 
that  film,"  Ashe  says,  "while  the  credits 
were  still  rolling,  I  came  up  with  the 
idea." 

Originally,  Ashe  thought  the  project, 
which  today  involves  in-class  screenings 
as  well  as  pre-  and  post-screening  discus- 
sions and  related  lessons  and  assign- 
ments, would  be  geared  towards  high 
school  students  and  focus  on  human 
rights  issues.  "In  order  to  reach  the  mass- 
es," she  says,  "I  knew  early  on  I  had  to 
take  the  project  to  schools,  rather  than 
theaters."  She  also  figured  kids  wouldn't 
care  as  much  about  a  human  rights  issue 
unless  they  were  familiar  with  the  culture 
in  which  it  was  based.  So  she  thought  to 
take  the  program  to  middle  schools  and 
center  it  on  connecting  to  characters  and 
story,  which  she  hoped  would  lead  to  cul- 
tural understanding.  Ashe  then  decided 
to  combine  the  program  with  geography, 
history,  and  social  studies  lessons.  "It  was 
a  way  to  get  into  schools,"  she  says.  It 
couldn't  be  arts-based,  because  arts  fund- 
ing was  being  cut." 

While  the  idea  began  to  grow,  Ashe 
met  Neeson  in  a  bar  in  New  York.  Two  of 


24  The  Independent  I  April  2005 


her    daughter's    friends    were    appearing  them    the   same   question,    they   said    it 

with  him  in  a  Broadway  production  of  would  be  'cool.'    It  went  from  weird  to 

The  Crucible,  and  at  an  after-party,  Ashe  cool.  And  that  was  our  data."  Additional 

was  introduced  to  the  actor  and  thanked  data  came  a  few  weeks  later  when  Ashe 

him  for  his  moving  portrayal  of  Oskar  heard   that  many  kids   had  asked   their 

Schindler    in    Schindler's    List.    Ashe's  teachers  if  a  Tibetan  exchange  student 

parents  are  Holocaust  survivors,  and  her  could  come  to  their  school, 
father  worked  in  Schindler's  factory.  "That  In  2003  and  2004,  while  searching  for 

film  validated  my  parents'  lives,"  Ashe  says.  other    middle    school-appropriate    films 

"Until  then,  survivors  had  largely  been  for-  with  which  to  rollout  the  project  on  a 

gotten."  After  Ashe  told  Neeson  all  this,  he  wider   scale,   Ashe   focused   on    creating 

said,  "God  bless  you.  And  God  bless  your  alliances  and  landing  funding.  As  a  result, 

father.  Tell  me  about  him."  she  discovered  Building  Bridges:  A  Peace 

She  did,  and  then  told  Neeson  about  Corps     Classroom     Guide     to     Cross- 

her  idea  lor  Journeys.  "I  just  let  it  out,"  she  Cultural     Understanding,     an     online 

says,    "and    right    away    he    said,    'How  resource  that  teaches  students  about  the 

can  help  you?'"  On  the  spot,  Ashe  asked  universal  aspects  of  culture  and  the  ways 

Neeson  if  he'd  be  her  national  spokesper-  in   which    it   influences   behavior.    Ashe 

son,  and  he  agreed.  "It  was  still  an  idea  thought  Building  Bridges  would  comple- 


then,"  she  says,  "but  that  got  me  focused. 

The  first  Journeys 
screening  occurred  in  2003 
in  Albuquerque,  New 
Mexico,  at  a  theater  not  far 
from  where  Ashe  lives  and 
bases  Journeys.  (For  logisti- 
cal reasons,  screenings  are 
now  held  in  classrooms.) 
About  250  kids  from  five 
schools  watched  The  Cup 
(1999),  a  film  about  two 
young  Tibetan  refugees 
who,  along  with  several 
teenage  monks,  are  trans- 
formed during  the  broad- 
cast of  soccer's  World  Cup. 
Ashe  hoped  the  kids 
watching  would  be  transformed,  too. 

The  outcome  didn't  disappoint.  "At 
the  end  of  the  film  the  kids  were  clap- 
ping," Ashe  says.  "And  during  the  Q&A, 
they  were  jumping  out  of  their  seats  to 
ask  questions."  Before  the  film  rolled, 
kids  were  asked  to  look  out  for  stereotyp- 


ment  Journeys  and  today,  the  curriculum 


Whale  Rider  is  one  of  the  films  that  Journeys  uses  to  instill 
cultural  awareness  in  kids  (South  Pacific  Pictures) 


includes  it.  The  Peace  Corps'  Donna 
Molinari,  who  works  alongside  Ashe, 
praises  the  program.  "I  know  of  no  other 
organization  that  approaches  cross-cul- 
tural understanding  in  such  a  meaningful 
and  effective  way,"  she  says  of  Journeys. 
"Films  are  meticulously  screened  for 
ing,  various  cultural  objects,  and  the  dif-  content  as  well  as  screenwriting  quality, 
ferent  ways  in  which  food  is  prepared  and  and  students  are  drawn  in  by  seeing  their 
people  greet  each  other — all  of  which  is  own  likeness  on  screen — but  in  a 
standard   procedure   in  Journeys'   lesson       far  away  place." 

plans.  Kids  were  also  asked  what  they'd  Ashe  also  formed  an  advisory  board, 

think  if  they  were  to  meet  a  Tibetan  boy  which  includes  actor,  director,  and  writer 
who  wore  an  orange  robe  with  a  sash.  Harold  Ramis;  Alan  Dershowitz,  a 
"Most  thought  it  would  be  'weird,'"  says  prominent  law  professor  at  Harvard 
Ashe.  "But  after  the  film,  when  we  asked       University;  and  Henry  Louis  Gates,  Jr.,  a 


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April  2005  I  The  Independent  25 


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Seung-Ho  Yoo  (foreground)  and  Eul-Boon  Kim  star  in  Jeong-Hyang  Lee's  film  The  Way  Home, 
which  will  be  part  of  the  2005  Journeys  in  Film  curriculum  (Mi-Jin  Han/Paramount  Classics) 


professor  and  chair  of  The  African  and 
African  American  Studies  Department, 
also  at  Harvard.  Ashe  says,  "I  wanted  to 
get  the  blessing  of  the  film  industry  and 
the  heavy  hitters  in  the  academic  world 
and  connect  them  together."  Ramis,  a 
Chicago  resident  and  friend  of  Ashe's  prior 
to  joining  the  Journeys  board,  connected 
her  with  the  CEO  of  Chicago  Public 
Schools  Arne  Duncan,  who  was  instru- 
mental in  bringing  Journeys  to  his  city. 

As  for  funding,  actress  Shirley 
MacLaine,  the  former  chairperson  of  the 
New  Mexico  Film  Office's  Film  Advisory 
Board,  heard  about  Journeys,  loved  the 
idea,  and  took  it  to  an  anonymous 
Hollywood  philanthropist  who  wrote 
Ashe  a  generous  check.  Soon  after,  Ashe 
hired  cross-cultural  communications  spe- 
cialist Anna  Mara  Rutins  and  filmmaker 
Ethan  Silverman  to  help  out.  Silverman, 
who  wrote  and  directed  The  Waiting 
Children  (the  film  Ashe  co-produced), 
writes  Journeys's  lesson  plans  specific  to 
teaching  film  as  literature.  "For  exam- 
ple," Ashe  says,  "with  Children  in 
Heaven,  we  show  students  how  to  look  at 
the  structure  of  the  film  through  a  pair  of 
shoes.  We  also  teach  them  what  to  look 
for  in  a  film,  such  as  the  use  of  different 
camera  angles,  and  about  perspective  in 
film."  Ashe  explains  that  the  lesson  plan 
for  The  Cup  includes  asking  kids  what 
monks  playing  soccer  with  a  coke  can 


says  about  the  West's  influence  on  the 
Tibetan  culture.  "So  kids  are  also  learning 
about  their  own  culture  too,"  she  says. 

In  September  2004,  Journeys's  pilot 
program  began  in  Chicago,  Tulsa,  Seattle, 
Los  Angeles,  Albuquerque,  Toronto,  and 
New  York.  Support  has  come  from  pro- 
duction companies  such  as  DreamWorks 
and  Miramax,  which  donated  DVDs  of 
its  films  to  be  used  in  classrooms,  as  well 
as  from  corporate  sponsors,  including 
Continental  Airlines,  Liberty  Group 
Publishing,  and  Ameritest.  So  far,  Ashe 
says  Journeys  hasn't  run  into  any  major 
obstacles,  and  teachers  couldn't  be  more 
pleased. 

"The  opportunity  to  invite  students  to 
look  at  a  problem  from  the  viewpoint  of 
another  culture  is  remarkable,"  says 
Georgia  Piechpander,  a  teacher  in 
Chicago.  Students  at  her  school  were 
"spellbound  with  The  Cup"  she  says. 
"They  laughed  in  all  the  right  spots  and 
really  related  to  the  little  wheeler-and- 
dealer'  character."  She  adds  that  the  sub- 
titles kept  students  engaged  throughout, 
rather  than  turn  them  off,  and  many  kids 
expressed  an  interest  in  the  Dalai  Lama, 
so  some  classes  did  extra  research. 

Meg  Venckus,  another  Chicago 
teacher,  recently  showed  her  students 
Children  of  Heaven  (which,  like  Baran, 
one  of  Ashe's  inspirations  for  Journeys, 
was    written    and    directed    by    Majid 


26  The  Independent  I  April  2005 


Majidi).  "A  few  kids  actually  cried  when  riculum.  But  due  to  its  mature  subject 
Ali  told  Zohre  he'd  lost  her  shoes,"  says  matter — the  film  focuses  on  two  Kurdish 
Venckus,  who  adds  that  as  a  result  of  the  teenagers  living  in  a  refugee  camp  in  Iraq 
film,  her  students  "gained  a  better  feel  for  near  the  Turkish  border  on  the  eve  of  the 
the  land,  customs,  and  people  of  Iran  than  American  invasion — she  admits  it  would 
any  chapter  unit  could  ever  provide."  have  to  be  included  in  a  future  series  for 

Bradley  Goodman,  who  teaches  fifth  high  school,  not  middle  school  students, 
and  sixth  graders  at  New 
York's  East  Village 
Community  School,  has 
held  viewings  of  both  The 
Cup  and  Children  of 
Heaven.  "The  kids 
enjoyed  The  Cup,"  he  says, 
"but  they  loved,  and  were 
very  moved  by  Children  of 
Heaven.  They  were 
amazed  at  how  important 
an  old  and  very  un-cool 
pair  of  shoes  were  to  the 
kids  in  the  film." 
Goodman  explains  that 
his  students  often  obsess 
over  their  expensive  sneak- 
ers and  says  they  were  also 
surprised  that  the  Iranian 
family  in  the  film  had 
such  a  beautiful  house 
with  a  courtyard  and 
fountain,     even     though 

they  were  clearly  poor.  "It's  just  fascinat-  "Eventually,  we  would  like  to  have  a 
ing  to  see  them  making  connections  and  series  on  films  with  strong  messages  that 
realizing  the  differences  in  priorities  in  bring  issues  to  the  forefront,"  she  says, 
other  cultures,"  Goodman  says.  echoing  her  original  idea  for  the  pro- 
"Although  my  students  live  in  New  gram.  "Journeys  was  developed  to  teach 
York,  their  own  worlds  are  actually  kids  about  other  cultures,  rather  than 
rather  small.  Watching  and  discussing  issues,  but  that  will  come."  ~k 
films  from  other  countries  and  cultures 


(L-R)  Journeys  founder  Joanne  Ashe,  director  of  City  Hall 
Academy  Anna  Commitante,  spokesman/actor  Liam  Neeson, 
and  Donna  Molinari  of  US  Peace  Corps  World  Wise  Schools 
(Dunkelman  Mollin) 


has  been  enlightening  for  them,  priming 
them  to  think  on  a  global  level." 
Goodman  partially  attributes  the 
Journeys  curriculum  for  inspiring  his 
students  to  initiate  an  in-class  project 
that  involves  raising  money  for  a  school 
in  Sudan. 

Along  with  affecting  participating  stu- 
dents, Journeys  has  provided  an  addition- 
al outlet  for  filmmakers.  Ashe  says  sever- 
al filmmakers  have  asked  her  to  look  at 
their  films,  and  one,  Iranian  filmmaker 
Bahman  Ghobadi,  expressed  hopes  that 
Ashe  would  bring  Journeys  to  Iraqi 
school  children.  Ashe,  in  turn,  would  like 
to  use  one  of  Ghobadis  films,  Turtles 
Can  Fly  (2004),  as  part  of  Journeys'  cur- 


More'  information  is  available  at 
www.journeysinfilm.  org 


Neeson  speaking  at  the  workshop  at  the  City 
Hall  Academy  (Dunkelman  Mollin) 


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or  reach  us  on  the  internet  at  www.glidecam.com 


Glidecam  is  Registered  at  the  Patent  and  TM  Office 


April  2005  I  The  Independent  27 


A  C 

the  Documentary  Doctor 


Fernanda  Rossi 


Dear  Doc  Doctor: 

My  film  projects  and  ideas  are  well-suit- 
ed for  public  television.  But  as  an  inde- 
pendent filmmaker  I  can't  envision  my 
work  fitting  into  pre-formatted  programs. 
Do  I  have  any  options  besides  just  selling  a 
finished  film? 

To  work  for  or  work  with — to  give  up  cre- 
ative control  for  the  safety  of  a  check,  or  brave 
financial  storms  and  sell  the  film  when  it's  fin- 
ished. With  LInCs  (Local  Independents 
Collaborating  with  Stations),  a  funding  initia- 
tive from  ITVS,  you  can  have  your  cake  and 
eat  it  too.  (And  with  346  stations  nationwide, 
there  is  a  lot  of  cake  to  chose  from.)  LInCS 
offers  matching  funds — you  bring  the  idea  or 
work-in-progress  and  the  local  station  of  your 
choice  offers  in-kind  services,  such  as  equip- 
ment, publicity,  or  any  number  of  things  you 
might  need. 

The  first  step  is  to  identify  the  aspects  of 
your  project  or  idea  that  might  appeal  to  a 
specific  region  of  the  country.  Visit 
www.pbs.org/stationfinder  and  enter  a  state 
or  zip  code,  which  will  direct  you  to  the  web- 
sites of  PBS  affiliate  stations  where  you  can 
learn  more  about  their  programming  and 
interests.  Even  if  the  station  is  not  directly 
affected  by  the  topic  of  your  film,  they  might 
be  supportive  of  the  cause.  So  don't  give  up 


too  easily,  and  don't  limit  your  search  to  the 
obvious  geographical  matches.  Then  you  can 
start  calling  stations  to  evaluate  if  there  is 
potential  and  interest  in  a  mutually  beneficial 
partnership.  Tips  on  how  to  approach  a  sta- 
tion and  build  partnerships  can  be  found  at 
www.itvs.org/producers/funding.html. 

Elizabeth  Meyer,  programming  manager 
for  the  LInCS  and  special  projects  at  ITVS 
presents  this  partnership  as  the  ideal  win-win 
situation:  "We  want  to  see  independent  film- 
makers bring  their  unique  vision  into  the  PBS 
world,  while  at  the  same  time  helping  local 
PBS  stations  fulfill  their  mission."  That  means 
your  creative  integrity  is  safe! 

Don't  fear  that  your  film  will  have  a  short 
life  within  the  borders  of  only  one  state. 
Robby  Fahey,  LInCS  production  manager, 
explains,  "Many  LInCS  projects  are  on  a  local 
or  regional  topic  that  is  of  interest  to  a  partic- 
ular station,  but  the  goal  is  to  make  these 
shows  available  at  the  national  level.  The 
involvement  of  the  station  gives  the  project 
credibility  and  gives  the  independent  film- 
maker an  entre  into  the  PBS  system." 

Keeping  your  independent  voice  while 
partnering  with  professionals,  and  at  the  same 
time  getting  a  funding  and  broadcast  deal? 
Maybe  Santa  Claus  exists  after  all. 


Dear  Doc  Doctor: 

How  can  I  tell  if  my  film  has  potential 
for  a  successful  outreach  campaign  and  if  it 
is  worth  the  sweat? 

Nowadays,  with  the  abundance  of 
resources  on  the  internet  and  the  convenience 
of  email  communication,  outreach  campaigns 
require  a  lot  less  money,  time,  and  sweat  than 
they  used  to.  Still,  it's  wise  to  figure  out  if 
grassroots  efforts  are  for  you  and  your  film. 

For  some  filmmakers  outreach  is  not  an 
afterthought.  Award-winning  producer  and 
director  Catherine  Gund,  producer  of  A 
Touch  of  Greatness  (2004,  directed  by  Leslie 
Sullivan)  says:  "I  become  interested  in  a  doc- 
umentary subject  because  of  the  outreach  and 
community  organizing  potential.  I  wouldn't 
begin  to  make  a  film  that  couldn't  be  used 
directly  by  a  targeted  audience.  With  A  Touch 
of  Greatness,  a  portrait  of  a  very  progressive 
and  inspiring  teacher,  we  knew  that  we  had 
the  entire  community  of  educators  to  work 
with.  In  fact,  we  didn't  wait  to  have  a  finished 
film  to  reach  out  to  them  and  collaborate." 

In  general,  the  making  of  the  film  itself  will 
lead  you  to  the  organizations  dealing  with  your 
topic.  But,  if  for  some  odd  reason  this  hasn't 
happened,  it's  not  too  late  to  take  action.  You 
will  have  to  hurry  though;  developing  relation- 
ships   with    nonprofits    that    have   access    to 


28  The  Independent  I  April  2005 


prospective  targeted  audiences  takes  time. 

After  an  inventory  of  the  obvious — as  well 
as  the  more  subtle  angles — of  your  film, 
whether  finished  or  not,  the  next  obligatory 
step  is  to  get  familiar  with  the  resources  offered 
by  mediarights.org,  workingfilms.org,  and 
centerforsocialmedia.org.  They  have  plenty  of 
information  on  how  to  develop  an  outreach 
campaign  and  function  as  a  bridge  between 
filmmakers  and  nonprofits  seeking  media. 

You  might  also  want  to  do  a  search  for  arti- 
cles in  newspapers  and  journals  covering  your 
film's  issues.  It  will  give  you  a  sense  of  the  talk 
around  town,  and  if  there  is  an  aspect  of  your 
film  that  is  particularly  current:  a  bill  due  in 
Congress  or  a  recent  case  that  further  proves 
the  point  of  your  documentary.  Finally,  check 
in  with  universities — academics  are  at  the  fore- 
front of  research  on  many  social  issues  and  top- 
ics, and  their  students  are  an  eager  audience. 

Based  on  the  responses  you  get  from  this 
research,  you  can  gauge  the  outreach  viability 
of  your  project.  However,  I  strongly  believe 
that  there  is  always  an  audience  and  a  way  to 
reach  it.  Whichever  path  you  choose  for  your 
film,  remember  poet  Antonio  Machado's 
words:  "Traveller,  there  is  no  road,  you  make 
the  road  as  you  go."    "& 


IMEMBER  DISCOUNT! 


www.mediariqhts.orq/toolkit 
email:  toolkit@medlariqhts.orq 


Your  documentary  can  move  audiences  to 
take  action  for  social  change.  The  Independent 
Producers'  Outreach  Toolkit  shows  you  how. 
WHAT  YOU  GET 

•  Interactive  Budqet 

•  Resource  Binder 
t  Case  Studies 

•  Sample  Proposals 

t  Interactive  Worksheets 

•  Phone  Consultation 


April  2005  I  The  Independent  29 


POLICY 


The  Cost  of  Clearance 

The  expense  and  complications  of  using  copyrighted  materials 


By  Matt  Dunne 

It  may  not  be  what  you  remember 
about  the  award-winning  documen- 
tary Hoop  Dreams,  but  a  scene  in 
which  a  family  sings  "Happy  Birthday" 
to  their  son  turned  out  to  be  a  major 
headache  for  the  filmmakers,  Steve  James 
and  Frederick  Marx.  Including  the  song 
cost  them  $15,000  to  $20,000  for  a 
single  verse. 

It's  a  reality  faced  by  every  documen- 
tary filmmaker  on  a  shoestring  budget — 
the  increasing  costs  for  rights  clearance. 
Buying  the  rights  to  use  historical  film 
footage  or  to  include  a  subject  singing 
standards  like  "God  Bless  America"  and 
"Happy  Birthday"  can  cost  big  money. 
Beyond  the  monetary  cost,  however, 
there's  the  time  cost  of  completing  exten- 
sive paperwork,  tracking  down  the  owner 
of  an  image  or  piece  of  footage,  and  try- 
ing to  get  him  or  her  to  return  your 
phone  call. 

One  cautionary  tale  for  filmmakers  is 
what  happened  with  Eyes  on  the  Prize, 
the  well-known  14-part  series  about  the 
civil  rights  movement  that  debuted  on 
public  television  in  1987.  Because  the 
clearance  rights  to  archival  footage  used 
in  the  film  expired,  Eyes  on  the  Prize  can- 
not be  shown  on  television  or  released  on 
DVD  until  the  rights  are  cleared  again, 
[see  News,  page  9] 

A  new  report  by  Patricia  Aufderheide 
and  Peter  Jaszi,  both  from  American 
University,  details  the  scope  of  the  prob- 
lem. "Untold  Stories:  Creative 
Consequences  of  the  Rights  Clearance 
Culture  for  Documentary  Filmmakers" 
provides  a  host  of  nightmarish  case  stud- 
ies. Gordon  Quinn,  a  founder  of 
Kartemquin  Films,  recently  saw  his 
budget  grow  by  $100,000  due  to  copy- 
right clearance  issues.  When  Jonathan 
Caouette  made  a  film  about  his  dysfunc- 
tional family  for  an  estimated  $218,  he 


Hoop  Dreams  filmmakers  (l-r)  Steve  James,  Peter  Gilbert,  and  Frederick  Marx  had  to  pay  over 
SI  5,000  to  use  a  single  verse  of  a  copyrighted  song  in  their  film  (Fine  Line  Features) 


was  shocked  to  see  the  film's  budget  sky- 
rocket to  $400,000  after  he  had  cleared 
all  necessary  copyrights. 

The  concept  of  copyrighting  creative 
work  has  a  long  and  complicated  history. 
The  first  copyright  laws  were  created  in 
early  18th  century  England  at  the  urging 
of  the  established  printer/publishers  of 
the  time  who  wanted  to  put  a  stop  to  the 
upstart  printers  outside  of  London.  Legal 
folklore  suggests  that  in  order  to  put  a 
good  face  on  the  lobbying  effort,  the 
advocates  invoked  the  interest  of  the 
authors,  avoiding  the  fact  that  the  pub- 
lishers typically  did  not  pay  royalties  to 
the  original  creator.  In  later  years,  courts 
leaned  toward  protection  of  the  creator, 
but  there  continues  to  be  uncertainty 
about  whether  copyright  laws  exist  to 
protect  the  intellectual  property  of  indi- 
vidual artists  or  the  corporate  interests  of 
companies  like  Disney. 

But  over  the  last  20  years,  starting  with 
the  consolidation  of  image  libraries  and 
furthered  by  the  profit  potential  of  mass 


production,  the  pendulum  has  swung 
back  toward  corporate  interests.  Disney 
successfully  lobbied  Congress  to  increase 
the  period  of  years  before  copyrighted 
material  enters  the  public  domain  by  20 
years  (from  the  life  of  the  author  plus  50 
years  to  the  life  of  the  author  plus  70  years 
for  individual  works  or  75  to  95  years  in 
the  case  of  works  of  corporate  authorship 
or  those  published  before  1978).  Now 
other  copyright  holders  are  shortening 
terms  of  licenses  for  filmmakers. 

While  many  filmmakers  are  willing  to 
take  risks  on  using  images  that  simply 
appear  in  the  background  of  their  works, 
their  distributors  and  producers  are  not. 
High  profile  cases  involving  sampling  by 
musical  artists  have  made  these  gatekeep- 
ers— and  their  insurance  companies — 
understandably  nervous.  This  nervous- 
ness has  led  to  requests  for  proof  of  copy- 
right clearance  in  films  that  would  have 
attracted  little  attention  10  years  ago. 

Aufderheide  and  Jaszi's  study  rein- 
forces the  sense  in  the  indie  community 


30  The  Independent  I  April  2005 


that  the  problem  has  reached  a  crisis 
point. 

Documentary  filmmakers  talked  about 
abandoning  projects  because  of  cost  or 
self-censoring  material.  In  some  cases  60 
percent  of  entire  budgets  are  going  to 
purchase  clearance  rights.  Other  film- 
makers go  through  elaborate  efforts  to 
avoid  the  need  to  acquire  rights,  includ- 
ing turning  off  televisions  in  scenes  where 
loud  background  programming  would 
more  truthfully  reflect  the  reality. 

The  study  also  finds  that  the  clearance 
climate  is  so  confusing  that  gatekeepers 
go  overboard  in  insisting  on  clearances 
that  may  not  be  necessary  and  should 
actually  fit  under  the  so-called  fair  use 
protections  allowable  when,  as  Jaszi  puts 
it,  "the  public  cultural  benefits  of  the  use 
outweigh  the  private  economic  costs  it 
may  impose."  Fear  of  the  unknown  may 
be  as  damaging  as  the  cost  of  clearances 
actually  required  under  the  law. 

All  in  all,  it's  a  pretty  grim  picture,  say 
independent  filmmakers.  Auferheide  and 
Jaszi  quote  public  television  veteran  pro- 
ducer Danny  Anker:  "I  have  watched 
over  the  years  as  these  prices  have  sky- 
rocketed, in  particular,  for  newsreel 
footage,  and  how  these  little  archive 
houses  that  used  to  work  very  closely 
with  filmmakers  were  gobbled  up  by  big- 
ger companies." 

Clearly,  a  solution  to  this  murky  legal 
limbo  is  needed. 

Some  in  the  film  legal  community, 
including  Duke  University  Law  Professor 
David  Lange,  have  called  for  Congress  to 
pass  a  law  creating  a  special  category  for 
documentary  filmmakers  under  the  fed- 
eral copyright  law.  The  argument  is  that 
documentaries  represent  a  special  type  of 
creative  production,  one  that  provides  an 
important  public  service,  as  opposed  to 
mere  entertainment.  But  even  if  there 
were  a  way  to  allow  documentarians  to 
protect  their  own  creations  while  being 
exempt  from  the  copyright  protections 
extended  to  other  artists,  it  would  be  a 
tough  sell.  One  can  only  imagine  certain 
members  of  Congress  referring  to  this 
type  of  legislation  as  "The  Michael 
Moore  Protection  Act." 


A  second  option  would  be  to  force  a 
legal  test  case  to  define  the  appropriate 
limits  of  fair  use  in  a  court  of  law.  As 
tempting  as  a  high  profile  legal  battle 
may  be  to  some  artists,  Aufderheide  and 
Jaszi  argue  that  the  approach  is  probably 
too  risky  and  could  lead  to  the  documen- 
tary film  community  being  outgunned 
by  hotshot  Hollywood  legal  teams. 

A  third  option,  and  the  one  recom- 
mended in  the  report,  is  to  create  a  pub- 
lished industry  standard  for  appropriate 
fair  use  in  documentaries  and  then  ask 
filmmakers  to  start  following  those  prac- 
tices in  a  disciplined  way.  Once  the  stan- 
dards of  practice  are  created,  associations 
could  formally  adopt  these  practices  and 
participate  in  educational  outreach  to 
ensure  adherence.  In  the  authors'  opin- 
ion, this  would  create  a  status  quo  that 
will  ease  gatekeepers'  anxieties  and  deter 
lawsuits  against  filmmakers  who  agree  to 
follow  the  new  rules. 

Of  course,  independent  filmmakers 
have  a  unique  perspective  on  all  this.  The 
artists  who  participated  in  Aufderheide 
and  Jaszi's  study  said  they  were  funda- 
mentally conflicted  around  copyright. 
Aufderheide  summarized  in  a  recent 
interview,  "What  we  heard  from  film- 
makers is  'I  love  my  copyright  and  copy- 
right is  crippling  my  work.'" 

So  Aufderheide  and  Jaszi  argue  that 
filmmakers  are  the  best  people  to  deliber- 
ate and  create  the  new  standards. 
"Documentary  filmmakers  who  are  sur- 
viving in  the  commercial  [world]  are  not 
wild-eyed  radicals,"  Jaszi  said.  "They  are 
uniquely  qualified  to  produce  a  consen- 
sus document  that  is  useful  because  they 
see  both  sides:  the  creator  and  the  con- 
sumer of  copywritten  material." 

The  approach  has  precedent.  In  the 
early  1990s,  media  academics  began  hav- 
ing similar  difficulties  getting  books  pub- 
lished that  included  stills  from  films  ref- 
erenced in  their  research.  Clearance 
efforts  were  incredibly  difficult  and  the 
purchase  price  of  rights  often  prohibitive. 
But  publishers  balked  at  going  ahead 
without  comprehensive  clearances.  In 
response,  a  commission  of  film  academics 
wrote  a  paper  outlining  appropriate  fair 


use  in  an  academic  context  and  distrib- 
uted it  to  publishers.  With  the  document 
in  hand,  publishers  went  ahead  and  pro- 
duced the  books.  According  to  Jaszi,  no 
one  ever  sued. 

Unfortunately,  the  recent  critical  and 
commercial  successes  of  documentary 
films  might  actually  make  this  approach 
more  challenging.  Ten  years  ago, 
Hollywood  might  have  put  the  docu- 
mentary film  industry  in  the  same  cate- 
gory as  academic  publishing.  But  the 
financial  success  of  films  such  as  Winged 
Migration  and  Fahrenheit  9/1 1  may  have 
the  owners  of  relevant  licenses  dreaming 
of  dollar  signs  now. 

Jaszi  points  out,  though,  that  there 
have  been  no  lawsuits  to  date  over  the  use 
of  an  otherwise  licensed  image  or  piece  of 
music  in  a  documentary  film.  Part  of  this 
might  be  the  result  of  overprotective 
gatekeepers  limiting  exposure,  but  the 
authors  think  it  might  be  a  similar  fear  by 
the  license  holders  that  a  court  might  rule 
in  a  way  that  would  broaden  the  defini- 
tion of  fair  use  and  threaten  future  prof- 
its. As  an  example,  Robert  Greenwald 
was  denied  the  rights  to  use  talk  show 
footage  from  Fox  for  his  film  Outfoxed: 
Rupert  Murdoch's  War  on  Journalism.  He 
went  ahead  and  used  the  footage  and 
although  he  did  prepare  extensively  for  a 
legal  battle,  Fox  let  it  slide. 

Aufderheide  and  Jaszi  are  spending  the 
next  six  months  convening  groups  of 
documentary  filmmakers  to  establish  a 
set  of  standards.  They  are  starting  with 
creating  a  clearinghouse  of  best  practices 
for  applying  fair  use  and  will  initiate  a 
dialogue  that  encourages  filmmakers  to 
look  at  copyright  from  both  perspectives 
and  grapple  with  the  complexities  of 
creating  specific  protocols.  The  first 
example  of  this  effort  is  a  "frequently 
asked  questions"  resource  that  can  be 
found  at  http://centerforsocialmedia.org. 
All  documentary  filmmakers  interested 
in  participating  in  this  process  are 
encouraged  to  contact  the  center  to  get 
involved.  The  active  participation  by 
documentary  filmmakers  may  be  the 
only  way  to  bring  sanity  and  balance  to 
the  clearance  process.  $r 


April  2005  I  The  Independent     31 


Big  Bird  and  Beyond 

IS  PUBLIC  BROADCASTING  FILLING  THE  WASTELAND  OF  COMMERCIAL  TV? 


BY  AMY  ALBO 


Lois  Vossen  thinks  she  has  the  best  job  in  the  world.  She 
works  60  hours  a  week,  and  much  of  her  time  is  spent 
thinking  about  or  watching  films  about  some  of  the  most 
deeply  troubling  aspects  of  humanity:  genocide,  the  child  sex 
trade,  domestic  abuse,  and  sweat  shops,  to  name  just  a  few.  But 
Vossen  remains  optimistic.  "A  really  well-made  film  even  on  the 
most  troublesome  topic  can  be  uplifting  because  it's  helping  to 
make  the  world  more  humane,"  she  says. 

Vossen  lives  in  San  Francisco  and  works  for  the  Independent 
Television  Service  (ITVS)  as  a  series  producer  for  the 
"Independent  Lens"  series,  an  hour-long  program  broadcast  on 
most  PBS  member  stations  every  Tuesday  night  at  10.  She  and 
three  colleagues  (from  PBS  and  ITVS)  screen  hundreds  of  films 
and  travel  to  film  festivals  throughout  the  world,  watching  as 
many  as  40  documentaries  in  a  week,  seeking  out  voices  that 
haven't  been  heard,  important  issues  that  haven't  been  covered,  and 
innovative  and  compelling  styles  of  telling  a  story  through  film. 

They  whittle  those  down  to  roughly  35  independently  pro- 
duced documentary,   dramatic,   and  short   films,   which   they 


acquire  for  about  $20,000  each  and  broadcast  the  films — with- 
out changing  or  editing  them — during  the  series'  29-week  sea- 
son. "There's  no  filter,"  Vossen  says.  "No  focus  group  or  mar- 
keting person  tells  the  filmmaker  to  change  the  ending,  or  to 
add  something,  to  make  it  more  appealing  for  X  demographic. 
It  is  citizen  storytellers  talking  directly  to  their  fellow  citizens. 
It's  free  to  every  American  household  and  seen  in  a  commercial- 
free  environment.  That  is  phenomenal  in  my  opinion." 

Wednesday  mornings  are  one  of  the  most  rewarding  perks  of 
Vossen's  job.  That's  when  she  reads  the  sometimes  hundreds  of 
responses  that  viewers  post  on  the  web  about  the  program  the 
night  before.  They  write  in  from  all  over  the  country,  from  all 
walks  of  life.  Some  disagree  with  the  content,  but  the  vast 
majority  include  an  element  of  heartfelt  gratitude  for  having 
raised  their  awareness  to  an  issue,  moved  or  inspired  them  in 
some  way.  "I  often  feel  like  nothing  I  can  do  can  make  any  pos- 
sible difference  to  worldwide  problems,"  writes  a  viewer  from 
Minnesota  after  watching  Sisters  in  Resistance,  a  documentary 
about  four  women  in  the  French  Resistance.  "This  film  moti- 


32  The  Independent  I  April  2005 


vates  me  to  try.  Thank  you." 

Christianity  Today  called 
"Independent  Lens"  "TV's  best  kept 
secret."  The  Kansas  City  Star  called  it 
"the  greatest  showcase  of  independ- 
ent film  on  TV  today."  And  Nancy 
Franklin  of  the  New  Yorker  wrote, 
"Watching  'Independent  Lens. ..is 
like  going  into  an  independent 
bookstore — you  don't  always  find 
what  you  were  looking  for  but  you 
often  find  something  you  didn't 
even  know  you  wanted." 

As  social  critics  predict  that 
American  culture  is  fast  on  its  way 
to   becoming  even   more   polarized 

and  stratified — politically,  econom-       '"  one  episode  of  "Postcards 

11         .        11  i  i        ing  the  Sears  Tower  (PBS) 

ically,  culturally,  and  generational- 

ly — this  seems  a  rare  opportunity  for  those  who  live  in  red  and 
blue  states,  religious  and  secular,  Republican  and  liberal, 
straight  and  gay,  white  and  black,  and  all  of  those  shades  in 
between  to  share  a  common  media  experience  and  about  an 
issue  decidedly  out  of  their  everyday  experience. 

It  could  be  argued  that  this  does  not  happen  in  the  same 
way — with  outreach  efforts  and  supporting  curriculum  ideas  lor 
educators — anywhere  else  on  the  spectrum.  And  that's  what 
public  television,  created  in  the  late  1960s,  was  designed  to 
be — not  just  an  alternative  but  an  antidote  to  the  "vast  waste- 
land" of  commercial  television. 

The  Public  Broadcasting  Act  passed  in  1967  mandated  that 
public  broadcasting  must  have  "instructional,  educational,  and 
cultural  purposes,"  serve  as  "a  forum  for  controversy  and 
debate"  and  "a  voice  for  groups  in  the  community  that  may 
otherwise  be  unheard"  so  that  we  could  "see  America  whole,  in 
all  its  diversity." 

From  this  vantage  point,  at  least  with  these  29  hours  of 
programming,  public  broadcasting  seems  to  be  alive  and  well, 
executing  its  mandate  beautifully 

The  Trouble  with  Buster 

Now  pan  over  to  the  cartoon  bunny  Buster  on  PBS  Kids. 
Children's  and  educational  programming  have  always  been  pub- 
lic television's  safe  haven.  In  1995,  Newt  Gingrich  proposed  to 
eliminate  federal  funding  for  PBS  and  learned  that  no  one  can 
go  up  against  Big  Bird  and  win.  So  the  controversy  last  January 
involving  a  PBS  Kid's  program  was  particularly  touchy. 

In  "Postcards  from  Buster,"  a  new  program  developed  to  pro- 
vide an  after-school,  non-commercial  alternative  for  the  4-8- 
year-old  crowd,  Buster  travels  around  the  country  meeting  real- 
life  children  and  experiencing  their  very  different  cultures  and 
communities.  In  the  controversial  "Sugartime!"  episode,  Buster 
travels  to  Vermont  and  meets  up  with  his  host,   11 -year-old 


w    V    ^  J 

from  Buster,"  Buster  meets  Farah,  a  10-year-old  Muslim  girl,  while  visit- 
Emma,  to  learn  about  farm  life  and  maple  sugaring.  It's  all  very 
innocuous  until  they  meet  Emma's  parents,  who  are  both 
women.  When  Buster  meets  Emma's  friend  Lily,  also  being 
raised  by  two  women,  he  comments,  "That's  a  lot  of  moms,"  the 
show's  only  reference  to  same-sex  parenting. 

Secretary  of  Education  Margaret  Spellings  found  the  episode 
inappropriate  for  children,  and  on  her  second  day  on  the  job  she 
requested  that  PBS  refund  the  federal  money  ($125,000)  pro- 
vided to  produce  the  program.  In  a  letter  to  PBS  President  Pat 
Mitchell  this  past  January,  Spellings  wrote  that  the  purpose  of 
the  funding  received  from  Congress  and  the  Department  of 
Education  "certainly  was  not  to  introduce  this  kind  of  subject 
matter  to  children." 

On  that  same  day,  PBS  announced  its  decision  not  to  dis- 
tribute the  "Sugartime!"  episode  to  its  member  stations,  stating 
that  "we  recognize  this  is  a  sensitive  issue,  and  we  wanted  to 
make  sure  that  parents  had  an  opportunity  to  introduce  this 
subject  to  their  own  children  in  their  own  time."  PBS  insists 
that  its  decision  not  to  distribute  the  program  nationally  was 
prompted  by  concerns  from  its  member  stations  and  not  in 
response  to  Spellings's  letter.  Despite  having  organized  an  inter- 
nal investigation  presumably  to  prove  that  point,  Mitchell 
announced  in  February  that  she  would  step  down  as  president 
when  her  contract  expires  in  June  2006.  She  said  that  she  felt  no 
pressure,  either  from  outside  or  inside,  in  making  her  decision 
to  leave. 

Regardless  of  the  panel's  findings,  the  "Sugartime!"  contro- 
versy illustrates  the  PBS  conundrum — its  lack  of  independent 
funding — and  raises  the  billion-dollar  question:  Can  PBS  pro- 
gramming be  truly  independent,  and  true  to  its  mandate,  if  50 
percent  of  its  annual  operating  budget  comes  from  the  govern- 
ment and  corporate  underwriters?  Can  PBS  be  free  from  polit- 
ical or  corporate  pressure  if  they  are  dependent  on  them  for 
their    existence?   The    Corporation    for    Public    Broadcasting, 


April  2005  I  The  Independent  33 


Jamila  Emann  filming  Afghanistan  Unveiled  in  a  clinic  in  Kandahar 
(Polly  Hyman  and  the  AINA  Women's  Filming  Group) 


which  provides  fund  to  PBS,  NPR,  and  PRI,  was  designed  for 
precisely  this  purpose — to  shield  PBS  from  political  meddling. 
But  it  appears  the  firewall  is  down. 

Critics  argue  that  PBS,  pressured  by  budget  constraints,  has 
cozied  up  to  corporate  sponsors,  to  a  conservative  administra- 
tion and  Congress,  and  to  the  former  FCC  chief  Michael  Powell 
(who  left  his  post  in  March),  and  to  Republican  board  members 
at  CPB,  by  changing  its  programming  to  include  shows  that  fea- 
ture such  conservative  commentators  as  CNN's  Tucker  Carlson 
and  Paul  Gigot  from  The  Wall  Street  Journal.  Observers  wonder 
how  they  could  possibly  be  considered  an  alternative  to  com- 
mercial media — they  are  the  commercial  media.  Meanwhile, 
critics  on  the  right  have  accused  public  broadcasting  of  being  a 
hotbed  of  liberalism. 

When  Sally  Jo  Fifer,  president  of  ITVS,  hears  those  claims, 
she  thinks  the  definitions  of  liberal  and  conservative  need  to  be 
recast.  "Are  issues  of  cultural  diversity  and  inequity  liberal?"  she 
asks.  "Do  liberals  own  the  problems  of  poverty  because  they  talk 
about  it?  Are  any  topics  that  deal  with  morality  somehow  a  con- 
servative topic?" 

The  Funding  Conundrum 

It's  hard  to  disagree  that  America's  public  broadcast  system  is 
undercapitalized.  It  is  the  least  publicly  funded  public  broadcast- 
er in  any  democratic  country.  The  average  American  pays  about 
Si  per  year  through  federal  taxes.  The  average  Canadian  pays 
Si 7.  In  Great  Britain,  it's  $27  per  person.  In  a  recent  speech, 
Mitchell  pointed  out  that  PBS  spends  less  producing  2,000  hours 
of  programming  than  HBO  spent  to  promote  "The  Sopranos." 

The  problem  is  not  just  the  amount  of  funding  but  its 
reliance  on  the  political  tides  of  government,  on  corporations 
and  foundations,  on  unpopular  fund  drives  and  on  decreasing 
membership  dues  at  PBS's  49  member  station. 


This  precarious  funding  situation  puts  at  risk  not  only  public 
television's  editorial  integrity  but  also  its  non-commercial 
integrity.  Recently  PBS  allowed  underwriting  spots  to  increase 
from  15  seconds  to  30  seconds.  They  are,  in  effect,  commer- 
cials— arguably  toned  down,  but  still  corporations  selling  their 
"hope  in  the  future"  and  their  wares,  even  to  children.  It's  five 
minutes  compared  to  commercial  television's  17  minutes,  but 
it's  still  advertising 

To  solve  the  funding  crisis,  there  are  several  proposals  on  the 
table  to  secure  a  multibillion-dollar  trust  fund  from  Congress. 
Mitchell  has  proposed  a  $5  billion  trust  fund  that  could  be 
financed  by  the  FCC  auction  of  the  analog  spectrum  (publicly 
owned  airwaves  worth  several  tens  of  billions  of  dollars)  to  wire- 
less companies.  A  permanent  trust  fund  would  help  ease  the 
financial  pressures  of  the  government  mandated  transition  from 
analog  broadcast  to  digital  television,  estimated  to  cost  public 
television  nearly  $2  billion.  It  would  also  help  public  television 
reinvent  itself  in  the  new  media  landscape.  For  example,  more 
than  2,000  new  digital  channels  will  be  available  to  public  tele- 
vision, but  there  is  little  to  no  money  to  develop  new  program- 
ming for  those  channels. 

There  are  widely  divergent  ideas  of  how  the  trust  fund  should 
be  set  up  and  what  type  of  programming  vision  it  should  fund. 
And  there  are  concerns  that  the  discussion  is  not  open  or  inclu- 
sive enough.  The  challenge,  and  it's  a  serious  one,  is  to  somehow 
present  a  unified  voice  before  Congress.  Any  hint  of  divisiveness 
could  easily  aid  critics  and  undermine  the  initiative. 

Does  PBS  matter? 

The  media  landscape  has  changed  dramatically  in  the  36 
years  since  PBS  was  created.  Instead  of  three  networks,  PBS  is 
now  competing  with  some  500  channels  (although  they  are  all 
owned  by  six  media  conglomerates).  And  some  of  those  chan- 
nels (HBO,  A&E,  Discovery,  Sundance)  are  broadcasting  the 
kinds  of  shows  that  were  exclusively  the  domain  of  PBS. 

The  issue  isn't  so  much  the  content,  according  to  Sally  Jo 
Fifer,  but  rather  the  intention  that  matters  and  separates  public 
interest  media  from  commercial  media.  Fifer  makes  an  analogy: 
"If  we're  having  a  conversation  and  your  goal  is  to  sell  me  a  vac- 
uum cleaner,  that  is  going  to  be  a  very  different  interaction  than 
if  we're  talking  about  how  to  solve  a  problem."  PBS  treats  the 
viewer  as  a  citizen  and  not  as  a  consumer.  Its  goal  is  to  inform 
and  engage  the  public  as  citizens,  to  build  and  take  care  of 
healthy  communities — not  to  increase  the  bottom  line. 

But  in  today's  entertainment-culture-on-steroids,  how  does 
PBS  interest  the  public  in  becoming  engaged  and  informed 
without  resorting  to  commercial  crassness?  And  furthermore,  is 
PBS  the  best  institution,  and  should  it  be  the  only  one  to  receive 
funding  to  accomplish  this  goal? 

Expanding  the  Digital  Horizon 

"PBS  will  never  be  a  significant  player  in  the  emerging  digi- 
tal landscape  because  of  its  inability  to  free  itself  of  governmen- 
tal pressures,"  says  Jeffrey  Chester,  executive  director  of  the 
Center  for  Digital  Democracy.  He  points  out  that  even  if  the 
trust  fund  initiative  is  successful,  Congress  will  still  appropriate 


34  The  Independent  I  April  2005 


the  money  annually.  Their  desperation  for  funding,  Chester 
believes,  will  lead  to  inevitable  concessions  that  will  take  them 
further  away  from  their  mandate.  Having  said  that,  Chester 
adds,  "We  should  try  to  fix  it  if  we  can,  and  it's  very  important 
for  independents  to  enter  into  the  debate  and  remind  the  pub- 
lic that  PBS  has  a  larger  mission  than  just  education."  What 
Chester  finds  hopeful  is  that  with  the  new  media  landscape  of 
expanded  cable,  satellite,  and  broadband,  it's  now  possible  to 
bypass  the  public  broadcasting  system. 

Clay  Shirley,  media  consultant  and  New  York  University 
adjunct  professor,  describes  the  current  media  situation  as  a  "freak 
out."  Most  people  agree  that  it's  a  virtual  free-for-all,  and  it's  any- 
one's best  guess  how  it  will  all  play  out.  What  seems  to  be  clear  is 
that  the  media  incumbents  (both  commercial  and  public)  stand 
to  lose  the  most.  The  tendency  is  to  enter  into  lockdown  mode  to 
protect  your  share  of  the  pie.  For  advocates  of  public  media,  a 
vital  component  of  a  healthy  democracy  is  at  stake. 

"If  free  and  independent  journalism  committed  to  telling  the 
truth  without  fear  or  favor  is  suffocated,  the  oxygen  goes  out  of 
democracy,"  Bill  Moyers  warned  in  a  keynote  address  to  the 
National  Conference  on  Media  Reform. 

But  what  "free  and  independent  journalism"  looks  like  in  the 
future  is  still  being  defined. 

Google  and  Yahoo,  among  others,  have  begun  indexing  the 
content  of  video  from  the  web  and  from  broadcast  and  satellite 
television.  It  probably  won't  be  long  before  we  can  watch  and 
search  entire  programs  on  the  web  as  well  as  access  archives. 
Emerging  Pictures  is  creating  a  network  of  digital  theatres  at  art 
and  science  institutions  throughout  the  world,  lowering  distri- 
bution costs  and  broadening  distribution  possibilities  for  inde- 
pendent film.  The  company  is  also  syndicating  and  digitally 
broadcasting  entire  film  festivals.  The  Internet  Archive  is  build- 
ing a  digital  library  of  internet  sites  and  will  act  as  a  library,  pro- 
viding free  access  to  everyone.  Al  Gore  and  Joel  Hyatt  have 
plans  for  a  new  cable  and  satellite  network  that  promises  to 
create  a  whole  new  paradigm  for  the  creation  and  distribution 
of  information  and  to  be  "the  antidote  to  the  established  corpo- 
rate media." 

Peter  Leyden,  the  former  features  editor  of  Wired  and  now  the 
so-called  knowledge  developer  at  Global  Business  Network,  stud- 
ied possible  scenarios  for  the  future  of  independent  media.  What 
he  found  exciting  was  this  bottom-up  phenomenon  of  media 
being  fueled  by  the  Millennial  Generation,  people  born  after 
1982.  Leyden  says  they  are  tech-sawy,  "totally  energized,"  and 
always  connected.  They're  also  incredibly  enthusiastic  and  opti- 
mistic about  the  future,  and  define  success  in  a  different  way.  If 
someone  in  India  watches  their  skateboard  video,  they're  thrilled. 

So  while  the  media  incumbents,  mostly  baby  boomers,  are 
talking  about  a  daunting,  overwhelming,  undercapitalized,  and 
somewhat  depressing  future,  these  kids  are  revved  up  and  also 
widely  ignored  by  the  establishment.  "The  worst  thing  you 
could  do  would  be  to  try  to  shut  them  up,"  Leyden  says. 
"They're  the  future." 


Sisters  in  Resistance:  (l-r)  Germaine  Tillion,  Genevieve  de  Gaulle 
Anthonioz,  Jacqueline  Pery  d'Alincourt,  and  Anise  Postel-Vinay. 
(Maia  Wechsler/  WMM/ITVS) 


Harnessing  the  Unknown 

Greater  access  to  information  alone  does  not  guarantee  a 
greater  perspective  or  deeper  understanding  of  the  world.  So 
who  or  what  will  organize  and  filter  this  new  media  for  us?  How 
will  we  know  what  sources  are  reliable,  or  will  we  care?  Who  will 
we  trust  to  give  us  fair,  accurate,  and  balanced  information,  or 
will  we  even  seek  it  out? 

Will  we  organize  ourselves  around  politics  and  rely  more  on 
partisan-driven  blogs?  Will  we  resort  to  vigilante-like  journal- 
ism, the  kind  that  took  down  CBS  anchor  Dan  Rather  and 
CNN  news  executive  Eason  Jordan?  House  parties  for 
Fahrenheit  9/11.  House  parties  for  Farenhype  9/11.  Where  and 
how  will  we  come  together? 

Perhaps  the  only  certainty  is  that  the  technology  train  is  mov- 
ing forward  at  warp  speed  and  no  one  is  going  to  slow  it  down 
while  public  interest  media  figures  out  who  it  wants  to  be. 

Clearly,  there  is  no  magic  pill  that  will  ensure  a  thriving  inde- 
pendent media.  ITVS's  Fifer  suggests  that  we  think  of  it  as  an 
ecosystem  and  focus  on  ways  to  make  sure  it's  healthy.  We  need 
to  ensure  that  a  good  supply  of  content  exists,  as  well  as  secure 
distribution  platforms  to  showcase  it.  Widely  available  and 
inexpensive  production  equipment  does  not  mean  that  anyone 
will  know  how  to  tell  a  good  story.  We  need  to  support  media 
arts  centers,  production  and  media  literacy  programs  in  schools, 
film  festivals,  as  well  as  public  broadcasting. 

Leyden  summarizes  the  task  at  hand:  Somehow  we  need  to 
figure  out  what  can  be  done,  and  done  well,  by  the  commercial, 
market-driven  forces,  what  can  be  done  well  by  a  new  genera- 
tion using  cutting-edge  technologies,  and  what  are  the  holes 
that  need  to  be  covered  by  public  broadcasting  so  that  we  have 
a  vibrant  media  spectrum  and  a  true  democracy. 

How  we  achieve  that  might  not  be  the  best  job  in  the  world, 
but  it's  an  important  one.    •& 


April  2005  I  The  Independent  35 


Independents  take  to  the  roof 


BY  DAVID  ALM 


In  New  York,  a  rooftop  is  not  merely  a  rooftop.  Part  refuge, 
part  observation  deck,  the  roof  is  where  New  Yorkers  go  to 
escape,  embrace,  and  celebrate  their  city.  It's  no  surprise 
then,  that  filmmakers  have  long  used  rooftops  to  convey 
New  York  life:  they're  ubiquitous,  photogenic,  and,  most  of  all, 
emblematic.  Think  or  all  the  rooftop  shootouts  and  foot  chases 
in  the  great  New  York  gangster  films — from  The  Musketeers  of 
Pig  Alley  (1912)  to  Once  Upon  a  Time  in  America  (1984).  Or  the 
pigeon  coops  in  On  the  Waterfront  (1954),  Ghost  Dog:  The  Way 
of  the  Samurai  (1999),  and  The  Royal  Tenenbaums  (2001) — 
offering  rooftop  reprieve  to  the  burdened  protagonists  of  those 
films.  And  who  can  forget  the  scene  in  Annie  Hall  (1977), 
where  Alvy  (Woody  Allen)  and  Annie  (Diane  Keaton)  fumble 
around  topics  of  heritage — "You're  what  Grammy  Hall  would 
call  a  real  Jew!" — and  photography  while  sipping  white  wine  on 
the  roof  of  Annie's  Upper  East  Side  apartment  building? 

Still,  barring  city-sponsored  screenings  in  Bryant  and  Central 
Parks,  going  to  the  movies  in  New  York  has  generally  been  an 
indoor  activity  ever  since  Thomas  Edison's  first  coin-operated 
Kinetoscope  parlor  opened  back  in  1894,  at  Broadway  and  26^ 


Street.  Today,  the  city's  famous  venues  are  grand  movie 
palaces,  converted  Chinese  and  Yiddish  theaters,  and  art  cine- 
mas housed  in  swanky  neighborhoods  like  Soho  and  Tribeca. 
In  short:  very  expensive  real  estate.  And  while  microcinemas 
have  cropped  up  in  unconventional  spaces  across  the  United 
States — from  funeral  homes  to  auto  repair  shops — the  con- 
cept simply  isn't  feasible  on  a  modest  budget  in  New  York. 
Who  has  the  space? 

The  answer  can  be  found  in  the  classic  paradox  describing 
who  owns  New  York  City:  everyone,  and  no  one. 

Enter  Rooftop  Films,  a  nonprofit  film  festival  and  produc- 
tion collective  started  in  1997  by  Mark  Elijah  Rosenberg,  then 
just  22,  fresh  out  of  college,  and  recently  returned  to  his  home- 
town. "Being  a  native  New  Yorker,  I'd  always  spent  a  lot  of  time 
on  rooftops,"  he  says.  "They're  these  sort  of  private/public 
spaces  that  you  can  only  access  through  the  building.  So  you 
have  this  private  entrance,  but  then  everyone  can  see  the  out- 
doors. They're  just  really  wonderful." 

Rosenberg  majored  in  film  at  Vassar  College  in 
Poughkeepsie,  New  York,  and  moved  into  a  six-floor  walk-up  in 


36  The  Independent  I  April  2005 


Manhattan's  East  Village  after  graduation.  "I  used  to  go  up  [to 
my  roof]  to  read,  write,  and  just  hang  out  all  the  time,"  he  says. 
"And  because  I  had  films  and  my  friends  had  films,  I  thought  it 
would  be  fun  to  have  a  party  and  screening  all  at  once.  It  just 
seemed  like  a  natural  thing  to  do." 


ing  out  emails,  and  distributing  self-made  posters  and  postcards 
by  hand. 

That  shotgun  approach  draws  the  gamut  of  film  projects, 
including  experimental  shorts,  animations,  documentaries,  and 
feature  films.  And  while  some  of  them  are  one-off  productions 


So  he  bought  a  used  16mm  projector  for  $60,  borrowed  200  by   first-time   filmmakers,   others   come   from   highly  accom- 

chairs  from  a  furniture  company,  and  taped  a  sheet  to  a  wall  at  plished  independent  directors.  Sam  Green,  who  co-directed  the 

the  edge  of  his  roof.  Then  he  told  everyone  he  knew  about  the  Oscar-nominated    documentary    The    Weather    Underground 

party,  and  on  the  day  of  the  screening  he  went  to  a  concert  in  (2002),  screened  one  of  his  early  films,  Pie  Fight  '69,  at  Rooftop 

Central  Park  and  passed  out  business  card-size  invitations  to  his  in  the  summer  of  2000.  That  season,  Rooftop  also  screened  a 

roof.  Over  300  people  turned  out  for  the  event,  and  Rosenberg,  short  film  by  Peter  Sollet  about  a  group  of  teenage  kids  on  the 

whose  screening  was  in   massive  violation   of  his   lease,  was  Lower  East  Side  titled  Five  Feet  High  and  Rising,  which  later 


promptly  evicted. 

"I  never  thought  I  was  starting  a 
film  festival,"  he  says  of  that  first 
night.  "I  thought  I  was  hosting  a 
little  one-time  thing,  but  it  worked 
out  so  well  that  once  the  next 
spring  rolled  around  I  thought  Id 
do  it  again." 

Fortunately,  Rosenbergs  friend 
Dan  Nuxoll,  also  a  1997  Vassar  grad- 
uate, and  his  friend  Joshua  Breitbart 
were  converting  an  old  East 
Williamsburg  warehouse  into  a  loft 
when  Rosenberg  lost  his  apartment. 
"We  had  access  to  the  roof,"  Nuxoll 
says,  adding  that  the  area  was  far  less 
regulated  than  most  Manhattan  properties.  "Artists  could  get 


Rooftop  now  screens  films  for  16  weeks  every  summer 
(photo  courtesy  of  Rooftop  Films) 


became  the  acclaimed  2002  feature 
Raising  Victor  Vargas. 

In  recent  years,  the  Rooftop  team 
has  taken  programs  to  art  galleries, 
cafes,  and  microcinemas  in  New 
Orleans,  San  Francisco,  Seattle,  and 
Vancouver,  among  other  cities.  They 
also  moved  from  East  Williamsburg 
to  Gowanus,  where  they  have  hosted 
the  last  two  seasons  atop  the  Old 
American  Can  Factory,  and  this 
summer  they  will  move  the  opera- 
tion once  again  to  an  even  larger 
Brooklyn  rooftop,  at  Automotive 
High  School  in  the  heart  of 
Williamsburg. 
Such  growth  raises  the  question:  In  a  world  where  nonprofits 


away  with  doing  more  there  than  they  could  anywhere  else  in  the  and  independent  media  organizations  face  enormous  survival 

city.  So  we  asked  our  landlord  if  we  could  build  a  screen  on  the  odds,  how  has  Rooftop  Films  managed  so  well? 

roof,  and  he  said,  'Yeah  sure,  whatever.  Go  ahead.'"  "Rooftop  has  the  kind  of  energy  around  it  that  characterized 

Breitbart  and  Nuxoll  hosted  the  festival's  weekly  Friday  night  the  New  York  film  scene  in  the  1960s — or  at  least  the  closest 

screenings  for  the  next  five  years,  while  Rosenberg  remained  the  you  can  get  to  it  these  days,"  says  Todd  Rohal,  a  Washington, 

organization's  artistic  director.  In  that  time,  Rooftop  Films  grew  DC-based  filmmaker  whose  short  films  have  screened  at  numer- 

exponentially:  its  annual  submissions  more  thanjripled,  from  a  ous  festivals,  including  Rooftop,  Slamdance,  and  SXSW.  "The 

couple  hundred  during  the  late  1990s  to  900  in  2003.  It  now  films  are  not  all  overly  raunchy  or  dirty,  and  it's  not  the  in-your- 

features  up  to  16  weeks  of  programming  each  summer,  DVDs,  face,  beyond-the-point  web-toons  stuff  that  the  modern  under- 

a  zine,  production  grants,  education  initiatives,  and  traveling  ground  fests  are  filled  with.  Rather,  it's  an  atmosphere  of  not 

programs  that  have  screened  across  the  United  States  and  in  knowing  what  to  expect  next  and  feeling  like  you're  squatting  in 

Canada.  Last  year  1,200  submissions  came  from  all  over  the  this  property  watching  films  that  might  never  be  seen  anywhere 

world  and  Nuxoll,  who  has  been  program  director  since  2001,  else.  Rooftop  is  that  last  little  bit  of  the  old  New  York  under- 

says  he  expects  to  receive  between  1,500  and  2,000  films  by  the  ground,  a  venue  out  in  the  middle  of  the  nowhere  end  of 

end  of  the  2005  season.  Brooklyn  that  allows  you  to  see  films  that  are  either  on  the  verge 

They  don't  advertise  for  lack  of  funds,   Nuxoll  says,   but  of  making  it  big  or  the  verge  of  disappearing  forever." 
instead  rely  on  word-of-mouth,  cold-calling  film  schools,  send-  Not  surprisingly,  this  echoes  Rosenberg's  initial  vision  for  the 


April  2005  I  The  Independent  37 


Steve  Collins's  The  Plumber  screened  at  rooftop,  after  being 
turned  away  by  over  30  other  festivals 


Todd  Rohal's  Hillybilly  Robot  was  one  of  Rooftop's  recent  selections 


organization.  "I  think  a  lot  of  film  festivals  start  with  people 
thinking  they're  going  to  get  these  people  to  sponsor  it,  and 
these  people  to  host  it,  and  this  will  be  the  theme,  and  this  will 
be  the  idea,  and  this  is  the  5-year  plan."  Rosenberg  says.  "And 
once  they've  got  all  that  they  try  to  see  the  films.  I  was  really  the 
opposite.  I'd  seen  a  lot  of  great  films  that  I  didn't  think  a  lot  of 
people  were  seeing.  So  I  thought  it  would  be  a  great  way  to  get 
people  to  come  and  see  them,  to  have  this  gimmick  of  doing  it 
outside,  because  everyone  in  New  York  wants  to  be  outside  in 
the  summer." 

Everyone  might  be  a  stretch,  but  Rooftop  Films  did  welcome 
3,000  guests  in  2003,  and  in  2004,  4,000  turned  out.  The  recep- 
tion could  reflect  Brooklyn's  relatively  newfound  status  as  a  hot 
nightspot,  even  for  Manhattanites,  as  much  as  the  quality  of 
Rooftop's  programming.  And  this  poses  a  challenge  for  the  organ- 
ization: to  separate  itself  from  the  so-called  "hipster  invasion"  that 
is  rapidly  transforming  Brooklyn's  working-class  and  ethnic  neigh- 
borhoods into  a  playground  lor  rich  20-somethings. 

"We've  had  audiences  that  are  very  ethnically  mixed,"  Nuxoll 
says.  "But  the  truth  of  it  is,  whether  or  not  our  programming 
caters  to  white  audiences,  our  audiences  are  still  very  much 
dominated  by  Caucasians.  We  definitely  have  a  disproportion- 
ate number  ol  people  [under  40]  who've  gotten  a  college  educa- 
tion or  graduate  degrees.  And  we've  worked  really  hard  over  the 
years  to  get  communities  more  involved  with  the  organiza- 
tion— particularly  neighborhoods  in  which  we're  showing  films. 
And  we've  been  successful  in  various  ways,  but  it's  not  easy  to 
shake  that  perception.  I  think  a  lot  of  filmmakers  feel  more 
comfortable  submitting  to  festivals  that  they  think  are  run  by 
people  with  backgrounds  like  their  own." 

With  that  in  mind,  Rooftop  has  made  a  priority  of  program- 
ming more  films  by  women,  people  of  color,  and  international 
filmmakers.  But  the  emphasis  remains  unequivocally  on  quality 
and  on  providing  a  venue  for  promising  filmmakers — whoever 
and  wherever  they  might  be. 

"I  think  the  best  films  that  we  show  are  the  best  films  there 
are,"  says  Sarah  Palmer,  the  organization's  festival  director,  zine 
editor,  and  another  Vassar  grad  (1999).  "And  I  think  our  films 


are  particular  in  the  way  that  we  curate  them.  We  have  region- 
al programs  and  other  sorts  of  programs,  like  home  movies,  and 
we  always  think  about  how  our  unique  venues  are  matched  with 
our  unique  programs." 

To  create  each  program,  Palmer,  Nuxoll,  and  Rosenberg  take 
turns  viewing  every  film  submitted  to  the  festival.  After  viewing 
a  given  film,  they  enter  its  title  and  filmmaker  into  a  database 
along  with  a  rating:  "Pass,"  "Consider  Low,"  "Consider  High," 
or  "Recommend."  Then  they  start  looking  for  thematic  pat- 
terns, and  potential  programs  begin  to  emerge. 

"If  we  see  that  we've  got  25  films  with  a  "Recommend"  or 
"Consider  High"  rating  from  Texas,  then  we  think,  okay,  maybe 
we  should  put  together  a  program  of  just  Texas  stuff,"  Nuxoll 
says.  Other  categories  might  include  world  documentaries, 
women-  or  youth-made  films,  and  films  from  the  Midwest. 
Some  categories,  such  as  home  movies  and  New  York  films, 
have  recurred  so  often  that  they're  in  annual  rotation.  And  cer- 
tain years,  time-specific  themes  emerge.  In  2004,  so  many  polit- 
ically-oriented films  were  submitted  that  the  Rooftop  team 
compiled  them  onto  a  DVD  and  even  traveled  to  several  swing- 
states  to  help  get  out  the  vote.  "But  we  always  do  at  least  two 
programs  that  are  not  organized  around  any  specific  theme," 
Nuxoll  says,  "other  than  that  we  like  them." 

Each  program  lasts  between  80  minutes  and  two  hours,  and 
consists  of  approximately  six  to  17  films.  Nuxoll  says  they  try  to 
incorporate  one  or  two  longer  films  to  avoid  what  he  recounts 
as  "one  of  the  most  difficult  watching  experiences"  he's  ever  had. 
"These  guys  put  together  an  evening  of  all  one-minute  films," 
he  says.  "It  was  just  a  one-hour  program,  but  it  was  60  one- 
minute  films — and  it  was  maddening.  It  was  like  watching 
commercials." 

Another  cause  for  Rooftop's  success  appears  to  be  its  support  of 
not  only  great  films,  but  of  the  people  who  make  them.  One  dol- 
lar of  every  ticket  sale  goes  into  a  grant  for  filmmakers  who  have 
screened  work  at  Rooftop  and  who  submit  a  simple  application. 

"It's  a  way  of  giving  back  to  the  filmmaking  community,  of 
fostering  production,  and  really  coming  up  with  a  network  and 
a    creative    way    of  helping    true    independent    filmmakers," 


38  The  Independent  I  April  2005 


Rooftop's  success  appears  to  be  its  support  of  not  only  great  films,  but  of  the  people  who  make  them  (photo  courtesy  of  Rooftop  Films) 


Rosenberg  says.  "They're  not  people  working  through 
Miramax,  but  people  who  are  really  working  on  their  own  films. 
And  we  want  to  get  their  films  made." 

One  of  Rooftop's  regulars,  Steve  Collins,  screened  his  short 
film  The  Plumber  during  an  "open  projector"  portion  of 
Rooftop's  inaugural  night  after  getting  turned  away  by  over 
30  other  festivals.  "Mark  never  rejected  me^  so  I  like  this 
relationship  better  than  my  relationship  with  programmers  at 
Sundance,  Berlin,  etc.,"  he  says.  Rooftop  even  donated  tape 
stock  to  Collins  for  his  graduate  thesis  at  the  University  of 
Texas,  Austin,  and  provided  him  with  something  every  film- 
maker wants:  an  audience. 

In  the  future,  Rooftop's  three  principals  plan  to  expand  its 
production  arm  and  become  a  central  resource  for  the 
filmmaking  community.  They  also  intend  to  sell  programming 
packages  for  a  small  fee  to  fledgling  microcinemas  that  lack 


the  contacts  and  resources  they  have  spent  the  past  eight  years 
acquiring.  And  of  course,  like  so  many  nonprofit  arts  org- 
anizations, they  would  love  to  hire  more  help.  "Mark,  Dan,  and 
I  are  the  heads  of  this  great  film  festival,"  Palmer  says,  "but 
we're  also  the  ones  unloading  the  U-Haul  at  three  in  the  morn- 
ing. It  would  be  great  for  certain  things  to  run  themselves  a 
little  more." 

At  the  end  of  the  day — or  week,  as  it  were — all  their  hard 
work  pays  off  in  the  simplest  way.  "I'm  most  happy  when  I  stand 
at  the  back  of  the  show  with  Mark  and  Dan,  and  we  watch  an 
audience  enraptured  by  a  film  on  a  summer  night  in  New  York," 
Palmer  says.  "When  we  watch  people  watching  films  that  they've 
never  imagined  before  and  enjoying  them,  and  watch  filmmak- 
ers meeting  people  after  a  show,  that's  really  what's  most  fulfill- 
ing. Seeing  people  connect  in  this  realm  of  film."    -k 


April  2005  I  The  Independent  39 


DO-SOMETHING 
DOCUMENTARIES 


BY  LISA  SELIN  DAVIS 

In  the  recently  released  film  Hotel  Rwanda  (2004),  Joaquin 
Phoenix's  character,  a  hard-living  videographer  who  has 
just  filmed  the  unfathomable  massacre  ofTutsis  by  Hutus, 
turns  to  Don  Cheadle's  character,  Paul  Rusesabagina,  and 
says,  "If  people  see  this  they'll  say,  'Oh  my  god,  that's  horrible,' 
and  then  they'll  go  on  eating  their  dinners." 

By  the  end  of  the  film,  I  was,  like  many  moviegoers  around 
me,  red-eyed,  shaken,  and  shamed.  We  streamed  out  of  the 
movie  theater  saying,  "That's  so  horrible."  And  many  of  us  then 
went  on  to  eat  our  dinners. 

Clearly,  social  issue  films  have  the  power  to  alert  us  to 
wrongs,  but  times  have  changed  since  Titicut  Follies  (1967) 
begot  massive  reform  in  mental  health  care  or  The  Thin  Blue 
Line  (1988)  helped  clear  Randall  Adams  of  murder  charges. 
These  days,  social  issue  filmmakers  are  doing  more  than  trying 
to  get  their  movies  up  on  the  big  screen.  They're  trying  to  get 
their  messages  to  the  right  people,  and  motivating  audiences  to 
stop  eating  their  dinners  and  do  something.  A  new  breed  of 
documentary  outreach  allows  films  to  have  a  life,  long  after  the 
theater  empties  or  the  TV  turns  off. 

I  saw  Titicut  Follies  in  a  documentary  film  class  at  Hampshire 
College  in  the  late  1980s.  In  those  days,  it  was  still  banned  for 
public  viewing,  and  we  had  to  sign  special  forms  claiming  we 
were  social  work  students  and  that  the  viewing  was  essential  to 


our  professional  development.  (The  ban  is  now  lifted.)  In  the 
1 960s,  when  Titicut  Follies  was  released,  two  important  changes 
helped  birth  social  issue  films:  new  film  technologies  and  mas- 
sive social  unrest.  Portable  film  and  video  equipment  allowed 
audiences  at  home  to  see  footage  of  protesters  assaulted  by  fire 
hoses  or  bitten  by  police  dogs  on  the  evening  news.  Groups  like 
California  Newsreel  sprung  up  to  help  distribute  social  issue 
films.  Cameras  were  light  enough  to  slip  into  mental  institu- 
tions or  come  along  for  the  long  ride  of  union  fights  as  in 
Barbara  Kopple's  Harlan  County,  USA  (1976).  We'd  never  been 
invited  into  struggles  the  way  cinema  verite  allowed  us  to  be. 
These  images  were  dangerous  (hence  the  Titicut  Follies  ban). 
They  were  enough  to  catapult  us  into  action. 

Today's  viewers  are  much  more  savvy  and  media-saturated, 
and  five  minutes  of  injustice  on  the  evening  news  is  unlikely  to 
sway  popular  opinion  (Rodney  King  aside),  or,  for  that  matter, 
political  activity.  Sometimes  watching  a  movie  can  make  you 
feel  as  if  you've  acted  and  shared  that  experience  with  the  film's 
subjects,  when  all  you've  done  is  sympathized.  So  the  next  gen- 
eration— spurred  by  new  technologies  and  massive  social 
unrest — looks  to  outreach  to  effect  social  change. 

"The  difference  between  outreach  and  marketing  is  that  you 
want  it  to  make  an  impact.  You  want  the  media  to  be  used  in 
some  way  that's  fulfilling  the  mission  of  why  it  was  made  in  the 


40  The  Independent  I  April  2005 


first  place,"  says  Nicole  Betancourt, 
executive  director  of  MediaRights, 
an  organization  that  unites  social 
issue  documentaries  with  nonprofits, 
libraries,  activists,  and  educators. 

Outreach  is  a  plan  for  distribut- 
ing the  message,  not  just  the  film. 
"We  start  from  the  premise  that 
we're  creating  change  around  a  spe- 
cific goal  and  audience  in  each  proj- 
ect," says  Hakima  Abbas,  a  program 
associate  at  Witness,  a  New  York- 
based  group  co-founded  by  singer- 
songwriter  Peter  Gabriel  to  train 
human  rights  groups  in  documen- 
tary production.  With  each  project 

they  take  on,  Witness  and  their  partnering  human  rights  group 
devise  a  "video  action  plan." 

"What  do  we  want  to  change:  a  specific  legislation,  or  a  spe- 
cific policy?"  asks  Habbas.  "Or  do  we  want  to  mobilize  a  cora- 


Kirsten  Johnson,  Angela  Tucker,  and  Katy  Chevigny  filming  Deadline  in  Chicago 
(photo  courtesy  of  Big  Mouth  Productions) 

Audience — the  story's  potential  buyers — is  the  key  compo- 
nent in  outreach.  Those  who  are  inclined  to  watch  public  tele- 
vision or  attend  festivals  like  Human  Rights  Watch  might  be 
already  in  the  choir,  but  just  don't  have  the  power  to  make 
munity  to  do  something,  and  then  who  would  our  target  audi-  change.  "It's  not  necessarily  the  number  of  people  who  see  your 
ences  be?  Who  would  be  best  reached  and  could  create  this  piece,  but  who  are  the  key  people  that  need  to  see  it  who  will  be 
change,  and  then,  from  there,  how  would  we  structure  this  story      able  to  make  this  change,"  Habbas  says. 

so  that  people  are  moved  to  create  this  change?  It's  a  little  like  "Think  about  what  your  goals  are  for  the  impact  of  the  film 

working  backwards  as  opposed  to  the  traditional  documentary  before  you  make  it,  who  your  audience  is,"  Betancourt  suggests, 
where  the  story  would  lead  us  to  the  end."  "What  organizations  can  help  you  reach  your  audiences  and 

For  example,  Witness  partnered  with  nonprofits  Books  Not  help  you  reach  the  impact  you  want  to  have?  Try  to  partner  with 
Bars  and  the  Ella  Baker  Center  for  Human  Rights  to  create       those  organizations  early  on." 

System  Failure:   Violence,  Abuse  and  Neglect  in  the  California  Off-Center  teams  up  with  nonprofit  law  firms  to  make  doc- 

Youth  Authority  (2004)  specifically  for  policymakers,  communi-  umentaries  about  specific  criminal  justice  cases.  Founders  Emily 
ty  organizations,  and  parents  of  imprisoned  children  (though  it  and  her  sister  Sarah  Kunstler  are  the  daughters  of  civil  rights 
also  had  a  theatrical  release).  After  screening  the  film  at  the  state  attorney  William  Kunstler,  and  their  work  started  as  a  way  to 
capitol  in  January — the  first  such  screening,  according  to  document  a  poorly  handled  drug-bust  in  Tulia,  Texas,  a  case  the 
Witness — reform  measures  for  the  California  Youth  Authority  William  Moses  Kunstler  Fund  for  Racial  Justice  had  taken  on. 
were  introduced.  The  resulting  documentary,  Tulia,  Texas:  Scenes  from  the  Drug 

"What  we  do  basically  is  PR  work  for  unpopular  causes,"  says  War  (2002),  was  shown  to  members  of  the  judicial  community 
Emily  Kunstler,  co-founder  of  Off  Center  Productions,  a  group  both  locally  and  nationally  and  led  to  new  representation  for  the 
dedicated  to  using  video  as  a  tool  for  organizing  and  social  jus-  defendants,  new  legislation  in  the  Texas  senate,  and  the  indict- 
tice.  "It's  all  theater.  It's  just  trying  to  sell  your  side  of  the  story."       ment  of  a  narcotics  officer.  Groups  like  the  NAACP  and  the 


April  2005  I  The  Independent  41 


ACLU  have  used  the  video  in  presentations. 

"If  our  goal  with  our  films  was  purely  to  get  a  large  audience 
and  try  to  sway  popular  opinion,  we  would  feel  enormously 
frustrated  and  useless,"  Kunstler  says.  "Our  work  is  most  grati- 
fying when  we're  influential  behind  the  scenes.  Otherwise,  it's 
too  broad.  You  have  to  be  more  strategic." 

"The  key  component  to  a  successful  outreach  campaign  is 
when  you  have  an  audience,  what  are  you  going  to  do  with 
them?"  Betancourt  asks.  "How  are  you  going  to  maximize  that 
moment  where  you  have  them  in  your  pocket  and  give  them  a 
chance  to  become  active  citizens  or  participants  in  what  they're 
watching  as  opposed  to  depressed  or  couch  potatoes?" 

Media-makers  can  either  offer  their  films  to  existing  cam- 
paigns  or  design   campaigns   around   their  films.  This   might 


'    '     '.«-■"'• 

K'lr 

?W 

_-  ---■. 

1 

^L 

.  s*^fi«\H 

>    rt/f 

The  Thin  Blue  Line,  1988  (Miramax  Films) 

include  presenting  a  way  to  make  donations,  a  petition  they  can 
sign,  or  a  letter  they  can  send.  Some  filmmakers  create  study 
guides  and  get  them  out  to  schools.  Or,  inspired  by  the  way 
groups  like  MoveOn.org  can  motivate  large  numbers  of  people 
with  a  simple  click  of  the  mouse,  use  the  internet  with  a  "take 
action"  link. 

Tod  Lending  s  Legacy  (2000),  a  documentary  about  the  cycli- 
cal nature  of  urban  poverty  in  four  generations  of  one  family,  was 
targeted  at  both  a  general  and  legislative  audience  and  inspired 
federal  housing  legislation  called  the  LEGACY  bill.  It  has  a  view- 
ing guide  and  offers  access  to  advocacy  and  informational  links. 
At  screenings  of  the  film  Blue  Vinyl  (2002),  the  filmmakers  hand- 
ed out  stamped  postcards  that  objected  to  corporate  use  of  PVC 
packaging. 

"You  really  want  to  give  people  tools  to  make  change  at  every 
point,  because  very  few  people  are  going  to,"  says  Angela  Tucker, 
outreach  coordinator  for  the  social  issue  documentary  company 
Big  Mouth  Productions.  "But  if  they  have  something  in  their 
hand  that  they  can  do,  at  least  they  can't  say  they  didn't  know 
what  to  do."  Big  Mouth's  documentary  Deadline  (2004)  is  a  ver- 
ite  account  of  Illinois  Governor  George  Ryan's  decision  to  com- 
mute the  death  sentence  of  167  death  row  inmates  during  his  last 
few  days  in  office.  Like  the  websites  of  many  social  issue  films, 


www.deadlinethemovie.com  has  a  "Get  involved"  link  that  con- 
nects you  to  your  local  governor's  office,  allows  you  to  sample  let- 
ters and  editorials,  register  to  vote,  and  make  donations. 

Problem  is,  many  filmmakers  don't  want  to  spend  their  time 
devising  a  strategic  outreach  plan;  it  takes  as  much  time  and 
energy  as  the  production  itself.  "There's  the  filmmaker  goal, 
which  is  the  'I  personally  as  the  filmmaker  want  to  have  a  film 
that  shows  on  HBO,  and  I  want  to  have  a  theatrical  release,'" 
Tucker  says.  "The  whole  other  piece  of  it  is  wanting  to  have 
your  film  make  some  kind  of  impact."  Besides  MediaRights, 
which  now  boasts  100,000  unique  web  visits  a  day  and  keeps  a 
roster  of  over  10,000  members  and  6,000  films,  a  number  of 
outreach-only  companies  provide  services  to  match  movies  with 
social  change  campaigns. 

North  Carolina-based  Working  Films  fits  filmmakers  with 
organizers,  grassroots  campaigns,  and  all  manners  of  communi- 
ty education  efforts  around  social  and  economic  justice  issues 
(they  coordinated  the  campaign  around  Blue  Vinyl).  Active 
Voice,  in  San  Francisco,  is  a  team  of  strategic  communication 
specialists  who  partner  movies  with  change-makers.  Their  work 
includes  the  Television  Race  Initiative,  which  uses  "high 
impact"  programming  around  race  and  identity  to  start  com- 
munity dialogues.  The  Human  Rights  Video  Project  curates 
human  rights-related  videos,  joining  them  with  libraries  and 
advocacy  groups  to  get  the  films  out  to  a  non  film-festival  audi- 
ence. There's  the  National  Center  for  Outreach  in  Wisconsin, 
which  brings  public  television  programming  off  the  small  screen 
and  into  the  classroom  and  community.  And  Outreach 
Extensions  is  a  California-based  consulting  firm  that  uses  a 
strategic  methodology  they  call  "building  synergistic  outreach 
pathway"  to  connect  media  with  community  or  education 
groups.  Part  of  their  work  includes  the  Reentry  National  Media 
Outreach  Campaign,  using  several  documentaries  to  make 
change  around  post-prison  life.  Groups  like  these  can  expand  a 
film's  audience  exponentially  or  target  it  to  the  right  corner  of 
the  world. 

The  other  advantage  to  focusing  on  a  film's  outreach  strategy 
is  funding.  "A  lot  of  foundations  are  more  comfortable  in  fund- 
ing films  that  have  outreach  campaigns,  or  they're  more  com- 
fortable funding  outreach  than  the  actual  film,"  Betancourt 
says.  "They're  saying,  'Why  are  we  giving  money  to  this  film 
instead  of  a  needle  exchange  program?'  Filmmakers  need  to 
think  about  how  the  film  is  going  to  be  used  in  the  field  and 
who's  going  to  use  it  and  why  do  they  need  it." 

The  outreach  campaign  for  Deadline,  for  instance  (which 
included  screenings  for  key  legal  officials  and  law  schools 
around  the  country  and  partnerships  with  groups  like  the  Legal 
Defense  Fund  and  the  Center  for  Human  Rights),  had  a  sepa- 
rate funding  stream  than  the  film,  including  the  Ford 
Foundation  and  the  Open  Society  Institute.  The  film  is  espe- 
cially timely  as  New  York  State  reconsiders  its  position  on  the 
death  penalty,  and  outreach  has  included  screenings  in  Albany 
for  key  people  involved  in  the  debate. 

But  how  do  you  measure  the  efficacy  of  your  film,  either 
individually  or  as  part  of  a  campaign?  "Changing  legislature  is 


42  The  Independent  I  April  2005 


hard,"  Tucker  says.  "Even  if  New  York  doesn't  bring  back  the 
death  penalty,  we  can't  say  it  was  because  of  Deadline  outreach." 

"That's  something  that  a  lot  of  people  have  been  grappling 
with,"  Betancourt  says.  "Huge  multinational  companies  like 
Reebok  spend  a  lot  of  money  analyzing  the  effectiveness  of  their 
advertising  campaigns,  and  they  can  also  say,  'We  sold  more 
sneakers'  or,  'Wow,  we've  changed  the  public  perception  of  high 
impact  sports.'  But  documentary  filmmakers  barely  have 
enough  money  to  promote  their  film  or  get  it  out  there,  let 
alone  analyze  its  effectiveness." 

But  there  are  ways  to  try  and  track  the  impact,  which  is 
important  information  for  your  funders,  for  your  cause,  and  for 
your  career,  since  realizing  your  advocacy  goal  can  only  help 
with  the  next  project.  You  can  follow  how  many  films  were  dis- 
tributed. You  can  hand  out  surveys  at  films  asking  how  or  if  it 
changed  minds  or  will  inspire  change.  You  can  track  informa- 
tion on  your  website,  including  how  many  hits  you  get,  and 
how  many  times  someone  links  to  "take  action." 

Documentaries  can  be  the  tipping  point  in  a  social  change 
campaign,  where  the  documentary  acts  as  a  kind  of  palliative 
that  lawmakers  or  those  in  positions  of  power  to  create  change 
could  not  otherwise  stomach  or  witness.  "It's  effective  in  putting 
a  human  face  on  an  issue,"  Habbas  says.  "We  can  talk  about 
numbers  in  a  written  report,  but  seeing  the  testimony  of  a 
woman  who  has  been  repeatedly  raped  in  a  conflict — it's  cer- 
tainly more  emotive  and  powerful  and  is  more  likely  to  move 
people  to  create  change." 

Kunstler  says:  "We  saw  the  strength  of  [  Tulia,  Texas]  and  the 
role  that  it  played  in  that  movement,  and  we  felt  that  we  should 
be  exposing  more  issues  of  injustice.  We've  always  been  activists, 
but  we  found  that  this  was  a  way  to  affect  greater  change." 

Betancourt  says:  "It's  always  hard  to  say,  was  it  the  film  that 
did  it,  was  it  the  campaign  that  did  it?  It  takes  a  lot  of  people  to 
make  change  happen.  But  I  do  think  a  film  has  an  emotional 
hook  that  can  get  people  to  connect  to  people  that  they  other- 
wise aren't  empathizing  with.  And  if  you  can  empathize  with 
that  person  who  you  think  is  different  or  outside  or  not  your 
problem,  that's  a  huge  leap."    -k 


Tulia,  Texas:  Scenes  from  the  Drug  War 
(Kunstler  Fund  for  Racial  Justice) 


Statoment  of  intent  "1 

PIK_E  STREET  CINEMA 

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"Statement  of  Intent"  required  for  a  screening  of 
Titicut  Follies  in  Seattle,  Washington  in  1967 


Documentary  Outreach  Organizations 


Active  Voice 

National  Center  for  Outreach 

2601  Mariposa  Street 

975  Observatory  Drive 

3rd  floor 

Madison,  WI  53706 

San  Francisco,  CA  941 10 

866-234-2016 

415-553-2841 

www.nationaloutreach.org 

www.  activevoice.  net 

Off-Center  Productions 

Big  Mouth  Productions 

625  Atlantic  Avenue 

104  West  14th  Street 

Suite  3303 

4th  Floor 

Brooklyn,  NY  11217 

New  York,  NY  10011 

718-636-0988 

646-230-6228 

www.off-center.org 

www.bigmouthproductions.com 

Outreach  Extension 

Human  Rights  Video  Project 

7039  Dume  Drive 

National  Video  Resources 

Malibu,  CA  90265 

73  Spring  Street,  Suite  403 

310-589-5180 

New  York,  NY  10012 

outext@aol.com  (no  web 

212-274-8080 

address) 

www.humanrightsproject.org 

Witness 

Human  Rights  Watch  Festival 

80  Hanson  Place 

350  Fifth  Avenue 

5th  Floor 

34th  Floor 

Brooklyn,  NY  11217 

New  York,  NY  10118-3299 

718-783-2000 

212-290-4700 

www.witness.org 

www.  hrw.org/iff 

Working  Films 

MediaRights 

602  South  Fifth  Avenue 

104W  14th  St. 

Wilmington,  NC  28401 

4th  Fl. 

910-342-9000 

New  York,  NY  10011 

www.workingfilms.org 

646-230-6288 

www.mediarights.org 

April  2005  I  The  Independent  43 


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DOMESTIC 

ACTION/CUT  SHORT  FILM  FESTIVAL,  Aug   29- 

Sept.  1,  CA.  Deadline:  March  15;  May  15. 
Cats:  short,  any  style  or  genre.  Awards: 
$35,000  in  cash  &  services.  Preview  on  DVD 
or  VHS.  Entry  Fee:  S40-S85.  Contact: 
Action/Cut  Filmmaking  Seminars;  filmmak 
ing@actioncut.com;  www.actioncut.com. 

ALGONQUIN  FILM  FESTIVAL,  May  19-  22,  PA 

Deadline:  Apr.  30.  This  Festival  welcomes 
entries  from  all  over  the  world  &  strives  to 
promote  independent  film,  w/  an  emphasis 
on  work  from  the  "genius  belt"  between 
New  York  &  Philadelphia.  Cats:  feature,  doc, 
animation,  experimental,  short,  music  video, 
student.  Awards:  None.  Formats:  3/4",  VHS, 
DV,  Beta,  Digifilm.  Preview  on  VHS.  Entry 
Fee:  $20  (shorts  &  students),  $40  (features). 
Contact:  Algonquin  Film  Festival  Screening 
Committee;  (267)  981-1139;  mfo@algonqum 
fest.org;  www.algonqumfest.org. 

ALL  ROADS  FILM  FESTIVAL,  Sept-Nov, 
CA/DC.  Deadline:  May  7.  A  multimedia  fest  & 
grants  program  created  to  provide  a  platform 
for  indigenous  &  under-represented  minority- 
culture  storytellers.  Cats:  feature,  doc,  short, 
animation,  music  video.  Awards:  Audience 
Awards  in  each  category.  Formats:  70mm, 
35mm,  16mm,  Beta,  DigiBeta,  Mini-DV 
Preview  on  VHS  or  DVD.  Entry  Fee:  None. 
Contact:  All  Roads  Film  Project;  (202)  857- 
7692;  allroads@ngs.org;  www.nat'lgeograp 
hic.com/allroads. 

BIG  BEAR  LAKE  INT'L  FILM  FESTIVAL,  Sept  1 6- 
18,  CA.  Deadline:  March  1;  April  8  (final 
scripts);  June  20  (final).  This  year's  cultural 
event  will  showcase  German  cinema.  The 


fest  is  located  in  Big  Bear  Lake,  California, 
nestled  in  the  San  Bernardino  Nat'l  Forest, 
just  two  hours  outside  of  Los  Angeles.  Cats: 
feature,  student,  short,  script,  doc,  family. 
Preview  on  VHS  or  DVD.  Entry  Fee:  $35-$45. 
Contact:  Monika  Skerbelis,  Festival  & 
Programming  Director;  (909)  866-3433;  fax: 
same;  bigbearfilmfest@aol.com;  www.big 
bearlakefilmfestival.com. 

BRIDGE  FILM  FESTIVAL,  April  16,  NY  Deadline: 
April  4.  Featuring  films  by  middle-  &  upper 
school  students  attending  Quaker  schools 
worldwide  &  students  who  are  members  of 
the  Quaker  faith.  The  goal  of  the  fest  is  to  pro- 
mote value-based  filmmaking  on  topics  that 
our  children  &  communities  grapple  w/  regu- 
larly, such  as  integrity,  non  violence,  social 
conscience  &  political  justice.  The  fest  is  not 
looking  for  films  about  Quaker  philosophy  but 
films  that  depict  Quaker  ideals  in  action.  From 
the  participating  schools,  finalist  films  will  be 
chosen  &  screened  &  awards  are  given  based 
on  both  the  quality  of  filmmaking  &  content. 
Entries  may  be  up  to  12  mm.  in  length.  Cats: 
doc,  Nature,  Comedy,  Drama,  Animation, 
music  video,  student,  short.  Preview  on  VHS 
(NTSC).  Entry  Fee:  $50.  Contact:  Andy  Cohen; 
(718)  852-1029;  fax:  643-4868; 

acohen@brooklynfriends.org;  www.brooklyn 
friends.org/bndgefilm/index.html. 

BRONX  INDEPENDENT  FILM  FESTIVAL,  June 

5-9,  NY.  Deadline:  May  2;  May  16  (final). 
Presented  by  Bronx  Stage  &  Film  Company, 
fest  seeks  not  commercially  exhibited  prior 
to  fest  dates.  Cats:  feature,  doc,  short,  ani- 
mation, experimental.  Formats:  DV.  Preview 
on  VHS  or  DVD.  Entry  Fee:  $10-$20.  Contact: 
Festival;  film@bronxstage.com;  www.bronx 
stage.com. 

BROOKLYN  INT'L  DISABILITY  FILM  FESTIVAL, 

July  22-24,  NY.  Deadline:  March  15;  April  8 
(final).  New  York  City's  first  int'l  disability  film 
fest.  The  fest  honors  films  about  all  disabili- 
ties &  especially  recognizes  the  work  of  film- 
makers w/  disabilities.  Outstanding  Disability 
Rights  advocates  will  also  be  honored.  Cats: 


feature,  doc,  short,  animation,  experimental. 
Awards:  Best  Feature,  Best  Short,  Best  Doc, 
Best  Animation,  Best  Experimental  Film, 
Audience  Awards.  Formats:  DV,  DVD,  16mm, 
Beta  SP  Preview  on  VHS.  Entry  Fee:  $20;  $25 
(final).  Contact:  Long  Island  University  (LIU), 
Media  Arts  Dept;  www.brooklyn.liu.edu/bidff/ 

DC  ASIAN  PACIFIC  AMERICAN  FILM  FESTIVAL 

Oct.  6-15,  DC.  Deadline:  April  1;  May  1  (final). 
The  test's  mission  is  to  "bring  attention  to  the 
creative  output  from  APA  communities  & 
encourage  the  artistic  development  of  APA 
films  in  the  greater  Washington  DC  metropol- 
itan region."  The  screenings  are  held  at  the 
Smithsonian  Institution's  Freer  Gallery  of  Art's 
Meyer  Auditorium,  the  Hirshhom  Museum  & 
Sculpture,  the  Canadian  Embassy,  &  other 
venues.  Founded:  2000.  Cats:  feature,  doc, 
short,  experimental,  animation.  Formats: 
16mm,  35mm,  Betacam.  Preview  on  VHS 
(NTSC)  or  DVD.  Entry  Fee:  $10  (shorts  &  fea- 
tures); $20  (final).  Contact:  Festival; 
gene@apafilm.org;  www.apafilm.org. 

EPFC  EXPERIMENTAL  FILM  FESTIVAL,  May  13 

1 5,  CA.  Deadline:  April  1 .  A  festival  devoted  to 
expenemtnal  &  doc  makers.  Films  screen  in 
the  Echo  Park  Film  Center  micro-cinema  fest. 
Cats:  doc,  experimental,  short.  Preview  on 
VHS  or  DVD.  Contact:  Echo  Park  Film  Center; 
paolofilm@hotmail.com;  www.echoparkfilm 
center.org. 

FILM  LIFE'S  AMERICAN  BLACK  FILM  FESTIVAL, 

July  13-17,  FL.  Deadline:  April  8.  Festival  is  5 
days  of  independent  films,  panels,  work- 
shops, Hollywood  premieres,  live  entertain- 
ment &  the  ABFF  Awards  Dinner. 
Filmmakers,  actors,  industry  executives,  jour- 
nalists &  the  public  form  a  creatively  charged 
atmosphere  on  South  Beach.  Fest  dubs  itself 
as  "the  premiere  int'l  black  film  market  & 
retreat."  Founded:  1997.  Cats:  Feature,  Short, 
doc.  Formats:  All  formats.  Preview  on  VHS. 
Entry  Fee:  $30.  Contact:  Festival;  (212)  966- 
2411;  fax:  966-2219;  abff@thefilmlife.com; 
www.abff.com. 


44  The  Independent  I  April  2005 


HOT  SPRINGS  DOC  FILM  FESTIVAL,  Oct  21-30, 
AR.  Deadline:  April  8;  May  20  (final).  Annual 
fest  accepting  nonfiction  film  submissions  for 
one  of  the  country's  premier  nonfiction  film 
celebrations.  Noncompetitive  fest  honors 
films  &  filmmakers  each  yr.  in  beautiful  Hot 
Springs  Nat'l  Park,  Arkansas.  More  than  85 
films  are  screened,  incl.  the  current  year's 
Academy  Award  nominees  in  nonfiction  cats. 
Special  guest  scholars,  filmmakers  &  celebri- 
ties participate  in  forums  &  lectures. 
Founded:  1992.  Cats:  doc.  Formats:  35mm, 
16mm,  1/2",  DVD,  Beta.  Preview  on  VHS  or 
DVD.  Entry  Fee:  $25-555.  Contact:  Darla 
Dixon,  HSDFI;  (501)  321-4747;  fax:  (501)  321- 
0211;  ddixon@sdfi.org;  www.hsdfi.org. 

HUNGARIAN  MULTICULTURAL  CENTER  FILM 
AND    VIDEO    FESTIVAL,     Aug     17  19,     TX 

Deadline:  April  20.  Annual  fest  accepts  film  is 
dedicated  to  promote  cultural  expansion  of 
the  visual  arts  between  Hungary  &  the  United 
States.  Work  must  be  under  60  mm.  in  length 
&  been  completed  in  past  2  years.  Cats: 
Animation,  Feature,  Short,  Doc.  Formats: 
35mm,  16mm,  3/4",  1/2".  Preview  on  VHS 
(NTSC),  incl.  SASE  for  return.  Entry  Fee: 
US$35.  Contact:  Hungarian  Multicultural 
Center,  Inc.;  (972)  225-8053;  fax:  (972)  308- 
8191;  bszechy@yahoo.com;  hungarian-multi 
cultural-center.com. 

KANSAS  INT'L  FILM  FESTIVAL  Sept  9  16,  KS 
Deadline:  March  31 ;  April  30  (final).  The  fest  is 
a  celebration  of  independent  cinema  &  fea- 
tures a  Think!  series  of  socially  conscious  doc- 
umentaries, experimental  works,  foreign 
films,  &  American  indies.  All  films  screen  in 
beautifully  restored  theatres  operated  by  the 
Fine  Arts  Theatre  Group  in  the  Kansas  City 
area.  The  Lucid  Underground  Film  Festival  of 
shorts  w/  a  punk  tenacity  also  screens  during 
KIFF.  Cats:  doc,  feature,  short,  experimental. 
Awards:  Audience  awards;  $250  cash  prizes 
in  each  category.  Formats:  35mm,  DV  Cam. 
Preview  on  VHS  or  DVD.  Entry  Fee:  $30;  $40 
(final).  Contact:  Dotty  Hamilton;  (816)  501- 
3646;  info@kansasfilm.com;  www.kansas 
film.com. 


LONG  ISLAND  FILM  FESTIVAL,  June  21-23,  NY 
Deadline:  April  30;  May  31  (final).  Annual  com- 
petitive fest  screens  over  50  features  & 
shorts  submitted  from  around  the  world. 
Cats:  feature,  short,  doc,  student,  experimen- 
tal, animation.  Awards:  1st  prizes  presented  in 
all  cats  (film  &  video),  w/  cash  awards  TBA. 
Formats:  35mm,  16mm,  3/4",  1/2",  DVD. 
Preview  on  VHS.  Entry  Fee:  $25  (student;  0  to 
15  mm.);  $40  (15  to  30  mm);  $60  (30-60  mm.); 
$75  (over  60  mm.).  Contact:  Chris  Cooke; 
(631)  669-2717;  fax:  853-4888;  suffolkfilm 
©yahoo.com;  www.lifilm.org. 

LONG  ISLAND  INT'L  FILM  EXPO,  July  15-21, 
NY.  Deadline:  May  9.  This  Festival  continues 
to  evolve  as  the  premier  regional  showcases 
for  new,  innovative  works  of  local  &  nat'l 
independents.  Cats:  doc,  feature,  animation, 
short.  Awards:  Categorical  awards  &  Jury 
awards.  Formats:  35mm,  16mm,  Beta  SR 
VHS.  Preview  on  VHS.  Fee:  $25  (shorts),  $50 
(features).  The  Bellmore  Movies;  (516)  572- 
0012;  fax:  572-0260;  debfilm@optonlme.net; 
www.LonglslandFilm.com. 

LUNAFEST,  September-October,  CA. 
Deadline:  April  30.  Fest  seeks  films  by 
women,  for  women,  or  about  women.  Areas 
of  interest  can  mci.  culture,  diversity  of  peo- 
ple, adventure,  sports,  the  environment,  spiri- 
tuality, inspiration,  challenges,  relationships  & 
breaking  barriers.  Program  will  tour  up  to  100 
venues.  Proceeds  from  fest  will  benefit  The 
Breast  Cancer  Fund  to  assist  their  efforts  to 
promote  awareness  &  education  of  womens' 
health.  Films  should  be  no  longer  than  40 
mm..  Cats:  short,  doc,  feature,  student,  fami- 
ly, jjnimation.  Awards:  Cash  prizes.  Formats: 
1/2",  DVD.  Preview  on  VHS.  Entry  Fee:  $15 
made  payable  to  The  Breast  Cancer  Fund. 
Contact:  Allison  Justice;  allison@aspir 
mgheights.com;  www.lunabar.com. 

MADCAT  WOMEN'S  INT'L  FILM   FESTIVAL 

Sept.,  CA.  Deadline:  March  25;  May  13  (final). 
MadCat  showcases  innovative  &  challenging 
works  from  around  the  globe.  Fest  features 
experimental,   avant   garde   &   independent 


works  by  women  of  all  lengths  &  genres. 
Works  can  be  produced  ANY  year.  It  is  the 
fest's  goal  to  expand  the  notion  of  women's 
cinema  beyond  the  limitations  of  films  about 
traditional  women's  issues.  All  topics/subjects 
will  be  considered.  Founded:  1996.  Cats:  any 
style  or  genre.  Formats:  35mm,  16mm,  super 
8,  Beta  SR  1/2",  Mini-DV  Preview  on  VHS  or 
DVD.  Entry  Fee:  $10-$30  (sliding  scale,  pay 
what  you  can  afford).  Contact:  Festival;  (415) 
436-9523;  fax:  934-0642;  info@madcatfilmfes 
tival.org;  www.madcatfilmfestival.org. 

MAINE  INT'L  FILM  FESTIVAL,  July  15-24,  ME 
Deadline:  April  30.  A  leading  New  England 
regional  film  fest  w/  an  exceptional  emphasis 
on  mt'l  productions.  Festival  seeks  features  & 
shorts  "shot  in  Maine  or  w/  a  significant 
Maine  focus."  Recent  fest  guests  &  winners 
of  MIFF's  Mid-Life  Achievement  Award  incl. 
Sissy  Spacek,  &  Terrence  Malick.  Founded 
1998.  Cats:  Feature,  Short,  doc.  Awards 
Audience  Award  (Best  Feature).  Formats 
35mm,  3/4",  Beta  SR  16mm,  S-VHS,  1/2", 
Beta,  DigiBeta,  DVD.  Preview  on  VHS.  Entry 
Fee:  $35;  $45  (final).  Contact:  MIFF;  (207) 
861-8138;  fax:  872-5502;  info@miff.org; 
www.miff.org. 

MARGARET  MEAD  FILM  &  VIDEO  FESTIVAL, 

November  11-16,  NY.  Deadline:  April  30. 
Premiere  US  fest  for  nonfiction  work,  w/  no 
restrictions  on  sub|ect,  length,  or  yr.  of  pro- 
duction. Held  at  the  American  Museum  of 
Natural  History,  the  fest  incls.  forums  &  dis- 
cussions w/  filmmakers.  Founded:  1977. 
Cats:  Short,  doc,  animation,  experimental, 
student,  youth  media.  Awards:  No  awards, 
some  financial  assistance  &  honorarium. 
Formats:  35mm,  16mm,  Beta.  Preview  on 
VHS  or  DVD.  Entry  Fee:  None.  Contact: 
Festival;  (212)  769-5305;  fax:  769-5329; 
meadfest@amnh.org;  www.amnh.org/mead. 

MOONDANCE  INT'L  FILM  FESTIVAL,  May  15- 

18,  CO.  Deadline:  April  1 .  Moondance  encour- 
ages &  promotes  screenwriters  &  filmmak- 
ers. Held  in  Boulder,  Colorado,  the  competion 
is  open  to  all  writers  &  indie  filmmakers.  Cats: 


April  2005  I  The  Independent     45 


Feature,  Doc,  Animation,  short,  experimental, 
script,  music  video,  student,  youth  media, 
family,  children,  TV,  any  style  or  genre,  radio 
drama,  puppetry  theatre,  lyrics  &  libretti,  TV 
MOW's,  TV  Episodes,  Stage  plays.  Awards: 
Columbine  Award  for  film,  screenplay,  stage 
play,  or  short  story  that  best  depicts  problems 
or  conflicts  solved  in  non-violent  manner. 
Spirit  of  Moondance  Awards  (for  &  by  women 
all  genres  &  cats),  Seahorse  Awards  (for  &  by 
men  &  women,  all  genres  &  cats),  Dolphin 
Awards  (for  &  by  kids  &  youth).  Formats:  Beta 
SR  DVD.  Preview  on  VHS.  Entry  Fee:  $25 
Animation;  $50  shorts;  $75  features.  Contact: 
Festival;  (303)545-0202;  moondanceff 
©aol.com;  www.moondancefilmfestival.com. 

NANTUCKET  FILM  FESTIVAL,  June  15-19,  MA 
Deadline:  April  1 .  Fest  focuses  on  screenwrit- 
ers &  their  craft,  presents  feature  films,  short 
films,  docs,  staged  readings,  Q&A  w/  film- 
makers, panel  discussions,  the  "Morning 
Coffee  With"  series,  Late  Night  Storytelling, 
Teen's  View  on  NFF  Program  &  NBC 
Screenwriter's  Tribute.  Fest's  goal  is  to  "fos- 
ter a  creative  film  industry  community  of 
screenwriters,  filmmakers,  directors  &  pro- 
ducers where  partnerships  are  formed  & 
deals  are  made."  Cats:  any  style  or  genre, 
script,  short,  feature.  Awards:  Tony  Cox 
Award  for  Screenwriting  Competition,  Moby 
Dick  Award  for  Best  Screenwriting  in  a 
Feature  Film  &  Short  Film,  Audience  Awards 
for  Best  Feature  &  Short  Film,  Best 
Storytelling  in  a  Doc  Feature  &  Teen's  View  on 
NFF  Short  Film  Award.  Formats:  35mm, 
Video,  16mm,  DigiBeta.  Preview  on  VHS. 
Entry  Fee:  $40  (features);  $25  (shorts,  35  mm. 
or  less);  $45  (screenplays).  Contact:  (212)  708- 
1278;  fax:  226-5054;  info@nantucketfilm  festi 
val.org;  www.nantucketfilmfestival.org. 

NEXTFRAME:  UFVAS  TOURING  FESTIVAL  OF 
INTERNATIONAL  STUDENT  FILM  &  VIDEO 

Oct.,  PA.  Deadline:  April  30;  May  31  (final). 
Fest  was  founded  in  1993  to  survey  &  exhibit 
the  very  best  in  current  student  film  &  video 
worldwide.  Emphasizes  independence,  cre- 
ativity &  new  approaches  to  visual  media.  All 


entries  must  have  been  created  by  students 
enrolled  in  a  college,  univ.,  or  graduate  school 
at  time  of  prod.  &  should  have  been  complet- 
ed no  earlier  than  May  of  previous  2  yrs.  All 
works  prescreened  by  panel  of  film/video- 
makers;  finalists  sent  to  judges.  About  30 
works  showcased  each  year.  All  works  pre- 
miere at  annual  conference  of  Univ.  Film  & 
Video  Assoc.  (UFVA),  in  August.  Year-long  int'l 
tour  of  finalists  begins  after  premiere.  Tour 
travels  to  major  universities  &  art  centers 
across  the  US  &  around  the  globe.  Past  int'l 
venues  have  incl.  Chile,  Canada,  Japan, 
Mexico,  New  Zealand  &  Portugal.  UFVA  is  an 
int'l  org.  dedicated  to  arts  &  sciences  of  film  & 
video  &  development  of  motion  pictures  as 
medium  of  communication.  Founded:  1993. 
Cats:  Doc,  Experimental,  Animation,  Feature, 
student,  short.  Awards:  Over  $15,000  in 
prizes;  1  st  &  2nd  place  prizes  awarded  in  each 
cat  plus  a  Director's  Choice  Prize.  Craft  com- 
petition, incl.  prizes  for  film  editing,  cine- 
matography &  screenwriting.  Formats: 
16mm,  Beta  SP  (NTSC),  Beta  SP.  Preview  on 
VHS  (PAL/SECAM  okay  for  preview  only), 
DVD.  Entry  Fee:  $25;  $20  (UFVA  members). 
Free  for  int'l  entries.  Contact:  Festival; 
(215)  923-3532;  fax:  204-6740;  nextfes 
t@temple.edu;  www.temple.edu/nextframe. 

OCEAN  CITY  FILM  FESTIVAL,  June  3-6,  NJ. 
Deadline:  March  1;  April  1  (final).  Cats:  fea- 
ture, doc,  short,  animation,  student.  Preview 
on  VHS.  Entry  Fee:  $25-$50.  Contact:  Festival; 
(609)  646-1640;  admm@oceancityfilmfest 
ival.com;  www.oceancityfilmfestival.com. 

PHILADELPHIA  INT'L  GAY  &  LESBIAN  FILM 
FESTIVAL,  July  7-18,  PA.  Deadline:  April  23. 
Competitive  fest  screening  int'l  features,  doc- 
umentaries, &  shorts,  w/  cash  prizes  for  both 
jury  &  audience  awards.  Cats:  feature,  short, 
doc,  children.  Awards:  Audience  Award,  Best 
Feature  ($1,000);  Audience  Award,  Gay  Male 
Short  ($500);  Audience  Award,  Lesbian  Short 
($500);  Jury  Award,  Best  Feature  ($500);  Jury 
Award,  Doc  ($500);  Jury  Award,  Lesbian  Short 
($250);  Jury  Award,  Gay  Male  Short  ($250). 
Preview  on  VHS.  Entry  Fee:  None.  Contact: 


Festival;  (215)733-0608  ext.  249;  fax:  733- 
0668;  rmurray@phillyfests.com;  www.philly 
fests.com. 

Q  CINEMA:  FORT  WORTH'S  GAY  &  LESBIAN 
FILM  FESTIVAL,  May  19-22,  TX.  Deadline:  April 
1 5.  The  mission  of  this  Festival  is  to  provide  a 
voice  for  gays,  lesbians,  bisexuals  &  trangen- 
dered  persons  by  presenting  films,  videos  & 
live  programs  that  not  only  represent  the 
diversity  of  our  community  but  educate, 
enlighten  &  entertain  us  all.  Cats:  feature,  doc, 
short.  Formats:  35mm,  16mm,  DVD,  Digital 
Video,  Beta  SP,  1/2".  Preview  on  VHS.  Entry 
Fee:  None.  Contact:  Q  Cinema;  (817) 
462-3368;  fax:  390-7257;  tcamp® 
startelegram.com;  www.qcinema.org. 

REEL  VENUS  FILM  FESTIVAL,  July  20-22,  NY 
Deadline:  April  15;  May  13  (final).  A  showcase 
of  Film/Video  Shorts,  30  min.  &  under,  all  gen- 
res, directed  &  written  by  emerging  &  estab- 
lished women  filmmakers  from  the  United 
States  &  Abroad.  Founded:  2003.  Cats:  any 
style  or  genre,  short.  Formats:  35mm,  16mm, 
Beta  SP,  DigiBeta,  1/2",  DVD.  Preview  on 
VHS  or  DVD.  Entry  Fee:  $15;  $20  (final). 
Contact:  Melissa  Fowler,  Festival  Director; 
info@reelvenus.com;  www.reelvenus.com. 

RESFEST  DIGITAL  FILM  FESTIVAL,  Sept  -  Dec  , 
NY,  CA,  DC,  IL,  MA,  OR.  Deadline:  April  15; 
May  13  (final).  Annual  nat'l/int'l  touring  fest 
seeks  short  films/videos  exploring  the  dynam- 
ic interplay  of  film,  art,  music  &  design.  The 
Fest  showcases  the  best  of  the  year's  shorts, 
features,  music  videos,  &  animation  along  w/ 
screenings,  live  music  events,  parties,  panel 
discussions,  &  tech  demos.  The  underlying 
guideline  for  submissions  is  Innovation.  The 
previous  years  the  fest  toured  30  plus  cities 
int'l  I  y.  Cats:  Doc,  Experimental,  Feature, 
Animation,  music  video,  short.  Awards: 
Audience  Choice  Award  w/  cash  prizes. 
Formats:  DV,  Beta  SP,  35mm,  DigiBeta  (pre- 
ferred), Mini  DV  (NTSC).  Preview  on  VHS  , 
DVD,  Beta  SP  (NTSC),  Mini  DV  (NTSC).  Entry 
Fee:  $20;  $25  (final).  Contact:  Festival;  film 
maker@resfest.com;  www.resfest.com. 


46  The  Independent  I  April  2005 


SAN  DIEGO  ASIAN  FILM  FESTIVAL,  Sept  29- 
Oct.  2,  CA.  Deadline:  April  1;  May  14  (final). 
Annual  competitive  test  seeks  short-to  fea- 
ture-length narratives,  docs,  experimental, 
animation  &  mixed-genre  works  made  by  or 
about  Asian  &  Pacific  Americans.  Cats:  fea- 
ture, doc,  experimental,  animation,  mixed 
genre  works,  short,  music  video.  Awards: 
Best  Feature,  Best  Short,  Best  Doc,  Best 
Experimental,  Best  Animation,  Best  Music 
Video,  Jury  award.  Formats:  35mm,  Beta  SP. 
Preview  on  VHS  (NTSC  only).  Entry  Fee:  $25; 
$35  (final).  Contact:  SDAFF;  (858)  699-2717; 
entries@sdaff.org;  www.sdaff.org. 

STONY  BROOK  FILM  FESTIVAL,  July  21-30,  NY 
Deadline:  May  2.  Bringing  the  best  in  inde- 
pendent film  to  a  discerning,  film-loving  com- 
munity. Over  13,000  attending.  Independent 
features  &  shorts  in  competition;  premieres, 
special  screenings,  filmmaker  panels  &  recep- 
tions. Cats:  Feature,  Short,  Doc,  Animation. 
Awards:  Grand  Prize,  Jury  Feature,  Jury  Short, 
Jury  Directing,  &  Audience  Choice  Awards. 
Formats:  35mm,  16mm.  Preview  on  VHS. 
Entry  Fee:  None.  Contact:  Alan  Inkles;  (631) 
632-7235;  fax:  632-7354;  filmfestival@stony- 
brookfilmfestival.com;  www.stonybrookfilm 
festival.com. 

SUBMERGE  INT  L  ART  &  ENVIRONMENT 
FESTIVAL,  June-Oct,  NY.  Deadline:  April  1. 
Fest  mission  is  "presenting  film,  video  &  pho- 
tography which  reflects  our  concerns  about 
our  fragile  aquatic  environments,  all  about 
Water."  Fest  is  presented  each  yr.  at  various 
venues  incl.  outdoor  &  theatrical  screenings, 
Gallery  Exhibits  &  Public  Art  Installations. 
Founded:  2002.  Cats:  any  style  or  genre,  doc, 
short,  experimental.  Awards:  Best 
Photography;  Best  Subject.  Formats:  Mini-DV, 
DVD,  Beta,  1/2".  Preview  on  VHS.  Entry  Fee: 
$20.  Contact:  Festival;  urbandivers@urban 
divers.org;  www.urbandivers.org. 

TELLURIDE  FILM  FESTIVAL,  Sept  2-5,  CO 
Deadline:  May  1  (early),  June  15  (final).  Annual 
fest,  held  in  a  Colorado  mountain  town,  is  a 
Labor  Day  weekend  celebration  commemo- 


rating the  art  of  filmmaking:  honoring  the 
great  masters  of  cinema,  discovering  the  rare 
&  unknown,  bringing  new  works  by  the 
world's  greatest  directors  &  the  latest  in  inde- 
pendent film.  Cats:  feature,  short,  student, 
any  style  or  genre,  doc,  experimental. 
Awards:  None.  Formats:  16mm,  35mm,  3/4", 
1/2",  S-VHS,  Beta,  Beta  SP,  DigiBeta,  Hi8,  DV, 
DVD.  Preview  on  VHS.  Entry  Fee:  $35  (19 
min.  or  less);  $55  (20-39  mm.);  $75  (40-59 
mm.);  $95  (60  mm.  &  over);  $25  (student 
films,  any  length).  Contact:  Bill  Pence  /  Tom 
Luddy;  (603)  433-9202;  fax:  433-9206; 
mail@telluridefilmfestival.org;  www.telluride 
filmfestival.org. 

WOODS  HOLE  FILM  FESTIVAL,  July  30-Aug  6, 
MA.  Deadline:  April  1 ;  May  1 5  (final).  A  show- 
case for  independent  film  w/  special  empha- 
sis on  regional  filmmakers  &  cinematography. 
Founded:  1991.  Cats:  feature,  doc,  short,  ani- 
mation, experimental,  script.  Awards:  Best  of 
the  Fest,  Best  feature:  drama,  comedy,  docu- 
mentary; Short:  drama,  comedy,  animation, 
documentary,  experimental;  Director's  Choice 
Award  for  Cinematography.  Formats:  16mm, 
35mm,  Beta  SP,  DVD,  DigiBeta.  Preview  on 
VHS  or  DVD.  Entry  Fee:  features:  $40,  $50 
(final);  shorts  (under  40  mm.):  $20,  $30  (final). 
Contact:  JC  Bouvier;  (508)  495-3456; 
mfo@woodsholefilmfestival.org;  www. wood 
sholefilmfestival.org. 

ZEITGEIST  INT'L  FILM  FESTIVAL,  June  1 3  /  July 
1 1  /  Aug.  8,  CA.  Deadline:  April  30.  ZIFF  is  an 
"irreverent"  fest,  held  in  San  Fran  in  the  back- 
yard of  the  Zeitgeist  Bar  (seats  300).  Works 
can  be  any  genre  "that  hold  the  attention  of 
the_ayerage  bar  patron".  Cats:  short  (15  mm 
or  less).  Formats:  16mm,  1/2",  DV,  DVD. 
Preview  on  VHS  or  DVD.  Entry  Fee:  None. 
Contact:  B  Berzins;  Call  (415)  786-9967;  Or 
email  ikooking@yahoo.com;  www. over 
cookedcine  ma.com. 

INTERNATIONAL 

AFRICA  IN  THE  PICTURE,  Sept  3-14, 
Netherlands.  Deadline:  April  15.  Africa  in  the 


picture  is  one  of  the  oldest  African  film  fests 
in  Europe.  The  bi-annual  fest  is  held  in 
Amsterdam  &  a  number  of  other  cities  in  the 
Netherlands,  featuring  works  from  Africa  & 
the  African  Diaspora.  Founded:  1987.  Cats: 
feature,  doc,  short.  Preview  on  VHS 
PAL/NTSC.  Entry  Fee:  none.  Contact:  Sasha 
Dees;  (212)  864-5921;  deessasha@cs.com; 
www.africainthepicture.nl. 

ANTIMATTER:  UNDERGROUND  FILM  FESTIVAL, 

Sept.  16-24,  Canada.  Deadline:  April  15;  May 
31  (final).  Annual  mt'l  fest  seeks  "imaginative, 
volatile,  entertaining  &  critical"  films  &  videos. 
Antimatter  is  "dedicated  to  cinema  as  art  vs. 
product,  regardless  of  the  subversive  or  dan- 
gerous nature  of  its  content,  stylistic  concerns 
or  commercial  viability".  Selected  works  may 
be  included  in  upcoming  int'l  tours.  Industrial, 
commercial  &  studio  products  ineligible.  Max 
30  mm.,  completed  w/in  past  two  years. 
Founded:  1998.  Cats:  any  style  or  genre, 
short.  Formats:  1/2",  16mm,  DVD,  Mini-DV, 
Super  8.  Preview  on  VHS,  DVD.  Entry  Fee: 
$10;  $20  (final).  Contact:  Todd  Eacrett, 
Director;  (250)  385-3327;  fax:  385-3327; 
mfo@antimatter.ws;  www.antimatter.ws. 

INT'L  FESTIVAL  OF  ENVIRONMENTAL  CINEMA 
&  VIDEO,  May  31 -June  5,  Brazil.  Deadline: 
April  15.  The  objective  of  FICA  is  to  divulge, 
show,  &  award  prizes  to  long,  medium  & 
short  audiovisual  productions,  fiction,  feature 
films  or  documentary,  focusing  on  environ- 
mental issues,  produced  anywhere  in  the 
world.  Films  must  be  produced  after  Jan  1  of 
previous  year.  Founded:  1999.  Cats:  feature, 
doc,  short,  TV,  animation.  Formats:  16mm, 
35mm,  Beta  SP  Preview  on  VHS  or  DVD. 
Entry  Fee:  None.  Contact:  Eudaldo 
Guimaraes,  Executive  Manage;  01 1  55  62  229 
3436;  fax:  224-2642;  fica@fica.art.br; 
www.fica.art.br. 

KARLOVY  VARY  INT'L  FILM  FESTIVAL,  July  1-9, 
Czech  Republic.  Deadline:  April  15.  Annual 
FIAPF-recognized  competitive  fest,  founded 
in  1 946.  This  fest  is  intended  for  lay  as  well  as 
professional  public  &  it  offers  to  its  visitors  a 
carefully   composed   program,    high-quality 


April  2005  I  The  Independent     47 


background,  &  a  wide  amount  of  services. 
Founded:  1946.  Cats:  Doc.  Feature,  Short. 
Awards:  Grand  Prize  of  Crystal  Globe,  Special 
Jury  Award,  Best  Director  Prize,  Best 
Actor/Actress  &  Lifetime  Achievement 
Award.  Formats:  35mm,  16mm.  Preview  on 
VHS.  Entry  Fee:  None.  Contact:  KVIFF;  (011) 
420  221  41 1  01 1 ;  fax:  420  221  41 1  033:  pro 
gram@kviff.com:  www.kviff.com. 

MELBOURNE  INT'L  FILM  FESTIVAL,  July  20- 
Aug.  7,  Australia.  Deadline:  March  18  (shorts): 
April  15  (features).  Established  in  1952,  the 
fest  is  the  oldest  established  Film  in  the 
southern  hemishphere  &  one  of  Australia's 
oldest  running  arts  events.  Screened  in  some 
of  Melbourne's  most  celebrated  cinemas  & 
theaters,  the  fest  comprises  an  eclectic  mix  of 
outstanding  filmmaking  from  around  the 
world.  The  fest  is  a  showcase  for  the  latest 
developments  in  Australian  &  mt'l  filmmaking, 
offering  audiences  a  wide  range  of  features  & 
shorts,  encompassing  fiction,  documentaries, 
animation  &  experimental  films  w/  a  program 
of  more  than  350  films  from  over  40  coun- 
tries. Highlights  incl.  the  Int'l  Short  Film 
Awards,  spolights  on  filmmakers,  genres  & 
retros.  Founded:  1952.  Cats:  feature,  doc, 
animation,  experimental,  student,  short. 
Formats:  35mm,  16mm,  ,  Beta  SP,  DVD. 
Preview  on  VHS  or  DVD.  Entry  Fee:  $40. 
Contact:  Juliana  Chin,  Program  Assistant:  01 1 
61  3  417  2011;  fax:  417  3804;  miff@mel 
bournefilmfestival.com.au;  www.melbourne 
filmfestival.com.au. 

MILANO  FILM  FESTIVAL,  September  10-19, 
Italy.  Deadline:  May  31.  Annual  fest  invites 
features  films  &  shorts  (under  45  mm.)  from 
anyone  who'd  like  to  "invent,  build,  &  destroy 
new  ideas  of  cinema."  Cats:  any  style  or 
genre,  feature,  doc,  short,  animation,  experi- 
mental, music  video,  student.  Awards: 
Awards  incl.  Apnle  Award.  Formats:  35mm, 
16mm,  8mm,  DV,  Beta  SP,  1/2".  Preview  on 
VHS.  Entry  Fee:  none.  Contact:  Festival;  01 1 


39  02  713  613;  info@milanofilmfestival.it; 
www.milanofilmfestival.it. 

NICKEL  INDEPENDENT  FILM  &  VIDEO 
FESTIVAL,  July  6-9,  Canada.  Deadline:  March 
15;  April  15  (final).  The  fest  dubs  itself  as  a 
"fest  created  by  filmmakers  for  filmmakers". 
In  addition  to  screenings  of  films  &  videos,  the 
fest  stages  actor's  workshops,  Q  &  A  w/  film- 
makers, showcases  local  theatre  pieces  & 
local  music  &  readings.  Founded:  2001.  Cats: 
feature,  doc,  short,  music  video,  any  style  or 
genre.  Awards:  Awards  in  various  cats. 
Formats:  Beta  SP,  16mm.  Preview  on  VHS  or 
DVD.  Entry  Fee:  $10  (shorts);  $20  (features). 
Contact:  Roger  Maunder;  (709)  722-3456; 
nickelfestival@yahoo.ca;  www.nickelfesti 
val.com. 

PESARO  FILM  FESTIVAL,  June  24-July  2,  Italy 
Deadline:  May  7.  Annual  fest's  "New 
Cinema"  program.  Production  req.  Italian  pre- 
miere, completion  after  Jan.  1  of  previous 
year.  If  not  English  or  French  spoken  or  subti- 
tled, enclose  dialogue  list  in  either  language. 
Founded:  1964.  Cats:  feature,  short,  doc, 
experimental,  animation  features.  Formats: 
35mm,  16mm,  Betacam,  3/4".  Preview  on 
VHS.  Entry  Fee:  None.  Contact:  Fondazione 
Pesaro  Nuovo  Cinema;  01 1  39  06  445  6643; 
fax:  49  1 1  63;  pesarofilmfest@mclink.it; 
www.pesarofilmfest.it. 

PLANET  FOCUS:  TORONTO  ENVIRONMENTAL 
FILM  FESTIVAL,  Sept.  28-Oct.  2,  Canada. 
Deadline:  April  1;  May  2.  Fest  pays  special 
consideration  to  works  that  push  the  bound- 
aries of  the  accepted  notions  of  'environ- 
ment'; works  that  present  cultural  perspec- 
tives that  are  under-represented  in  Canada  & 
works  that  will  have  their  world  or  Canadian 
premiere  at  fest.  Cats:  any  style  or  genre. 
Entry  Fee:  $15;  $20  (final).  Contact:  Festival; 
(416)  531-1769;  info@planetinfocus.org; 
www.planetinfocus.org. 


SPLICE  THIS!  THE  TORONTO  ANNUAL  SUPER  8 
FILM  FESTIVAL,  June  17-19,  Canada. 
Deadline:  April  15.  Non-competitive  fest  dedi- 
cated to  the  exhibition  of  small  gauge  films, 
showcasing  a  wide  range  of  work  by  first- 
time  filmmakers  &  seasoned  super-eighters. 
All  entries  must  be  shot  on  Super  8.  Video  will 
be  screened  only  if  original  print  isn't  avail,  or 
if  the  film  was  edited  on  video.  16mm  blow- 
ups of  super  8  are  also  considered.  Cats:  any 
style  or  genre.  Formats:  super  8,  silent  super 
8,  super  8  w/  live  accomampaniment,  super  8 
w/  sound,  super8  w/  audiocassette,  Super  8 
work  on:  1/2",  DVD,  Mini-DV.  Preview  on 
VHS.  Entry  Fee:  $5.  Contact:  Festival; 
splicethis@yahoo.com;  www.splicethis.com. 

SUNNY  SIDE  OF  THE  DOC  MARKET,  June  29- 
July  2,  France.  Deadline:  April  1 5.  Annual  mar- 
ket brings  together  ind.  producers,  distribu- 
tors, commissioning  editors,  heads  of  TV  pro- 
gramming depts  &  buyers  from  all  over  the 
world.  Attended  by  some  539  co.  from  35 
countries,  183  buyers  &  commissioning  edi- 
tors &  120  TV  channels.  Market  provides  ops 
for  project  development  &  meeting  partners 
w/  Side-by-Side  sessions.  Founded:  1990. 
Cats:  doc.  Preview  on  VHS.  Contact:  Pole 
Media  Belle  de  Mai  ;  01 1  33  4  95  04  44  80; 
fax:  33  4  91  84  38  34;  email  contact@sun 
nysideofthedoc.com;  www.sunnysideofthe 
doc.com. 

WELLINGTON  FILM  FESTIVAL/AUCKLAND 
INT'L  FILM  FESTIVAL,  July,  New  Zealand. 
Deadline:  Mid  April.  Noncompetitive  fest,  w/  a 

I  core  program  of  120  features  (&  as  many 
shorts),      fest     simultaneously     presents 

I  Auckland  &  Wellington  Film  Festivals  &  pro- 
grams that  travel  to  cities  of  Dunedin  & 
Christchurch  &  other  cities  throughout  New 
Zealand.  Founded:  1972.  Cats:  Feature,  Short. 
Formats:  35mm,  16mm,  Beta  SP.  Preview  on 

;  VHS.  Entry  Fee:  None.  Contact:  Bill  Gosden; 
011  64  4  385  0162;  fax:  801  7304; 
entnes@nzff.co.nz;  www.nzff.co.nz. 


48  The  Independent  I  April  2005 


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BUY  I  RENT  I  SELL 

ARCHIVAL  FOOTAGE  AT  LOW  PRICES,  NO 
RESTRICTIONS:  Offering  a  High  Quality, 
Extensive  Library  of  Public  Domain  Footage 
spanning  the  20th  Century  at  prices  inde- 
pendent producers  can  afford.  Footage 
Farm  (888)  270-1414;  www.footage 
farm.com. 

CAMERA    RENTALS    FOR    LOW    BUDGETS 

Production  Junction  is  owned  &  operated 
by  a  fellow  mdpendent.  Cameras,  Lights, 
Mies,  Decks,  etc.  Equipment  &  prices  at 
www.ProductionJunction.com. 
Email:Chris@ProductionJunction.com 
or  call  (917)  288-9000.  www.Production 
Junction.com. 

PROFESSIONAL  VIDEOCAMERA  SONY  DSR 
570  with  3  batteries-  near  mint  condition, 
w/case.  Native  16x9,  DVCAM  or  mini  DV. 
$12,750.   907-677-7970.  mkatzke@gci.net. 

UNION  SQUARE  AREA  STAGE  RENTALS,  pro 

duction  space,  Digibeta,  Beta  SP,  DVCAM, 
mini-DV,  hi-8,  24-R  projectors,  grip,  lights, 
dubs,      deck      and      camera      rentals. 


Uncompressed  Avid  and  FCP  suites,  too. 
Production  Central  (212)  631-0435. 

DISTRIBUTION 

AQUARIUS  HEALTH  CARE  VIDEOS  is  the  lead 
ing  Distributor/Producer  of  documentary 
films  on  health  care  issues.  Our  programs 
are  educational  and  inspirational  and  focus 
on  life  challenging  situations.  We  are  cur- 
rently seeking  additional  films  to  add  to  our 
award  winning  collection.  Our  strong,  tar- 
geted marketing  program  will  increase 
awareness  and  sales  for  you.  Please  send 
a  preview  vhs  or  DVD  to  Aquarius  Health 
Care  Videos,  18  North  Main  Street, 
Sherbom,  MA  01770  or  call  (888)  440- 
2963,  LBK@aquariusproductions.com. 
www.aquariusproductions.com. 

FANLIGHT  PRODUCTIONS  20+  years  as  an 
industry  leader!  Join  more  than  100  award- 
winning  film  &  video  producers.  Send  us 
your  new  works  on  healthcare,  mental 
health,  aging,  disabilities,  and  related 
issues.  (800)  937-41 13;  www.fanlight.com. 
sandy@fanlight.com. 


THE  CINEMA  GUILD:  leading  film/video/multi- 
media distributor,  seeks  new  doc,  fiction, 
educational  &  animation  programs  for  dis- 
tribution. Send  videocassettes  or  discs  for 
evaluation  to:  The  Cinema  Guild,  130 
Madison  Ave.,  2nd  fl.,  New  York,  NY 
10016;  (212)  685-6242;  mfo@CIN 
EMAGUILD.COM  or  ask  for  brochure  via 
hkemmer@cinemaguild.com.  www.cin 
emaguild.com. 

FREELANCE 

35MM  &  16MM  PROD.  PKG.  W/  DP.  Complete 
package  w/  DP's  own  Am  35BL,  16SR, 
HMIs,  lighting,  dolly,  Tulip  crane,  camjib, 
DAT,  grip  &  5-ton  truck  and  more.  Call  for 
reel:  Tom  Agnello  (201)  741-4367;  road 
toindy@aol.com.  10740 

ACADEMY,     EMMY     NOMINATED     EDITOR 

(HOOP  DREAMS)  seeks  edit  jobs:  docs, 
fiction;  film,  video;  experimental,  traditional 
TV.  Cut  on  Avid,  FCP,  flatbeds.  Also  con- 
sulting, cut  reviews,  etc.  No  sweat  equity 
or  deferrals;  fdm@fmarxfilm.com. 
www.fmarxfilm.com. 


April  2005  I  The  Independent     49 


The  AIVF  Guide  to 

Film  &  Video 
Distributors 

edited  by  Rania  Richardson 

What  You'll  Find: 

Up-to-date  profiles  of  close  to  200 
distributors,  supplemented  by  "how 
to"  articles,  selected  reprints  from 
The  Independent,  and  in-depth  inter- 
views with  over  20  distributors. 
Published  to  order,  ensuring  the  most 
current  information  that's  available. 


Order  online  at 


ANDREW         DUNN,  Director  of 

Photography/camera  operator  Arn35  BL3, 
Aaton  XTRprod  S16,  Sony  DVCAM. 
Experience  in  features,  docs,  TV  &  industri- 
als. Credits:  Dog  Run,  Strays,  Working 
Space/Working  Light.  (212)  477-0172; 
AndrewDI  58@aol.com. 

ARE  YOU  STUCK?  Fernanda  Rossi,  script  & 
documentary  doctor,  specializes  in  narra- 
tive structure  in  all  stages  of  the  filmmaking 
process,  including  story  development, 
fundraising  trailers  and  post-production. 
She  has  doctored  over  30  films  and  is  the 
author  of  "Trailer  Mechanics."  For  private 
consultations  and  workshops  visit 
www.documentarydoctor.com  or  write  to 
info@documentarydoctor.com. 

CAMERAMAN/STEADICAM  OPERATOR 

Owner  Steadicam,  Am  35  BL,  Am  16  SR, 
Beta  SR  Stereo  TC  Nagra  4,  TC  Fostex  PD- 
4  DAT,  lighting  packages  to  shoot  features, 
music  videos,  commercials,  etc.  Call  Mik 
Cribben  for  info  &  reel,  (212)  929-7728  in 
NY  or  800-235-271 3  in  Miami. 

COMPOSER:  Acclaimed  composer  and  film 
music  producer  Richard  Martinez  will  work 
with  you  to  add  the  music  that  will  give 
your  film  its  final  weight.  His  Academy 
award  winning  experience  (Frida)  and  tech- 
nology expertise  of  every  facet  of  music 


production,  will  make  your  film  or  doc 
shine.  CLASSY  YET  AFFORDABLE.  Credits 
and  demos  at:  www.lightbodymusic.com 
Light  Body  Music,  Inc.  914-739-9410.  New 
York  area,  cristina@lightbodymusic.com. 

COMPOSER  MIRIAM  CUTLER  loves  to  collab- 
orate: docs,  features.  Lost  In  La 
Mancha/IFC,  Scout's  Honor,  Licensed  To 
Kill,  Pandemic:  Facing  Aids/HBO,  Indian 
Point/HBO,  Positively  Naked/HBO,  Stolen 
Childhoodsa,  Amy's  0  &  more.  (310)  398- 
5985  mir.cut@verizon.net.  www.minam 
cutler.com. 

COMPOSER:  Original  music  for  your  film  or 
video  project.  Will  work  with  any  budget. 
Complete  digital  studio.  NYC  area.  Demo 
CD  upon  request.  Call  Ian  O'Brien:  (201) 
222-2638;  iobrien@bellatlantic.net. 

COMPOSER:  Original  music  for  your  produc- 
tion, young  but  experienced  company, 
currently  scoring  Afghani  and  Vietnam 
documentarys  amongst  others.  Looking 
for  varied  work,  UK  based,  pete 
©audioreel.com.  www.audioreel.com. 

DP  WITH  ARRI  SR  SUPER  16/16MM  and  35BL- 
2  camera  packages.  Expert  lighting  and 
camerawork  for  independent  films,  music 
videos,  etc.  Superb  results  on  a  short 
schedule  and  low  budget.   Great  prices. 


50    The  Independent  I  April  2005 


Willing  to  travel.  Matthew  617-244-6730. 

DIGITAL  DP/CAMERA  OPERATOR  with  a  Sony 
DSR-500WSL/1  camera  package.  Electr- 
onic Cinematography,  documentary,  inde- 
pendent friendly,  reasonable  rates.  Full 
Screen/Wide  Screen-(4:3/16:9).  For  reel, 
rate  &  info  call:  (516)  783-5790.  ProCam 
NY@hotmail.com. 

FREELANCE  CAMERA  GROUP  IN  NYC  seeking 
professional  cameramen  and  soundmen  w/ 
solid  Betacam  experience  to  work  w/  wide 
array  of  clients.  If  qualified,  contact  COA  at 
(212)  505-1911.  Must  have  documen- 
tary/news samples  or  reel. 

GRANTWRITING/FUNDRAISING:  Research, 
writing  &  strategy  (for  production,  distribu- 
tion, exhibition  &  educational  media  proj- 
ects). Successful  proposals  to  NYSCA, 
NEA,  NEH,  ITVS,  Soros,  Rockefeller,  Lila 
Acheson  Wallace  Foundation.  Fast  writers, 
reasonable  rates.  Wanda  Bershen,  (212) 
598-0224;  www.reddiaper.com. 

LOCATION  SOUND:  Over  25  yrs  sound  exp 
w/  timecode  Nagra  &  DAT,  quality  mics  & 
mixers.  Reduced  rates  for  low-budget 
projects.  Harvey  &  Fred  Edwards,  Call  (518) 
677-5720;  or  (819)  459-2680;  or  email 
films@worldnet.att.net;  www.edwards 
films.com. 


MISCELLANEOUS 

INTERNATIONAL  FESTIVAL  OF  HORROR  Call 
for  Entries!!  SciFi/Docs/Fantasy/Animation/ 
Suspense  Deadline  August  15th,  2005.  For 
entry  forms  visit  www.festivalofhorror.com 
or  send  a  SASE  to  PMB  332  907  W 
Marketview  Dr.  Suite  10  Champaign,  IL 
61822  USA  info@festivalofhorror.com. 
www.festivalofhorror.com. 

OPPORTUNITIES  I  GIGS 

50  WAYS  TO  IMPROVE  YOUR  VIDEO  BUSINESS. 
FREE  REPORT.  Grow  a  successful  video  busi- 
ness in  Legal,  Wedding,  Corporate,  TV 
and  more,  http://videouniversity.com 
/50web.htm. 

DHTV,  a  progressive,  nonprofit  community 
media  center  and  tv  station  in  St.  Louis, 
MO  seeks  works  by  indie  producers.  Half 
hour  and  1  hour  lenghts.  S-VHS  accept- 
ed,DVD  preferred.  Nonexclusive  rights 
release  upon  acceptance.  No  pay  but  expo- 
sure to  60,000  cable  households.  Contact 
Mariah  Richardson,  dhTV,  625  N.  euclid,  St. 
Louis,  Mo  63108,  314.361.8870  x230, 
mariah@dhtv.org. 

(VISITING)  ASSISTANT/  ASSOCIATE  PROF,  in 

Documentary  Video  Production  Communi- 
cation Department  at  The  University  of  the 


Your  documentary  can  move  audiences  to 
take  action  for  social  change,  the  Independent 
Producers'  Outreach  toolkit  shows  you  how. 

WHAT  YOU  GET 

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production  central 

SHOOT  •   EDIT  •  DUPLICATE  •   DVD   •   24P 

•  Two  Fully  Equipped  Soundstages  with  Grid  and  Cyc 

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•  Video  Duplication 

PAUNTSC  Transcoding  /Rim  to  DVD  or  Video 

•  CD  /  DVD  Duplication 

Full  Color  Printing  on  Discs  /  Authoring  (All  Regions) 

•  Avid  /  Final  Cut  Pro  G5  Edit  Rooms 

With  or  Without  Editors 

•  DigiBeta,  Beta  SP,  DVCAM  Decks 

Projector  and  Plasma  Screen  Rentals 

•  Full  Production  and  Creative  Services 

Commercials,  T.V.,  Films,  Industrials,  Events 

Say  bye-bye  to  the  expense  and  time  of 
messengers,  cabs,  deliveries,  trains,  busses,  etc.! 


573  broadway,  suite  205,  new  york,  ny  10003 

tel  (212)  631-0435  -fax  (212)  631-0436 

web:  www.prodcentral.com 

email:  david@prodcentral.com 


April  2005  I  The  Independent  51 


mercerMEDIA 

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Sound  design,  editing  and  mixing 
VO  recording,  ADR,  and  foley 
Original  music  and  sound  effects 
Non-linear  video  editing 
Archival  and  Restoration 
DVD  authoring 


RECENT  PROJECTS  INCLUDE: 

Nanette  Burstein  &  Jordan  Roberts 
Film  School 

Bill  Plympton 
Hair  High 

Bobby  Abate  &  Peggy  Ahwesh 
Certain  Women 

Dtane  Bonder 
Closer  to  Heaven 

Tareque  Masud 
The  Clay  Bird 

MERCERMEDIA.COM 


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Standby  ptpvides  artists  & 
independent,  makers  access  to 
the  latest  media  arts  services  at 
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Broadcast  Quality  Editing 
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Technical  Consultation 

Serving  the  community  for 
over  20  Years! 

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info@standby.org 
212.206.7858 


Arts  invites  applications  for  a  one-year 
appointment  starting  Fall  2005.  Required: 
professional  experience  in  documentary 
film/video  production  with  grounding  in 
social  science,  humanities,  media  studies, 
communication,  or  international  studies. 
www.uarts.edu/con  tact/jobs. cfm.  Send 
CV,  statement  of  approach  to  teaching, 
description  of  professional  interests, 
contact  info  of  3  prof,  references,  portfolio 
limited  to  2  works  with  SASE  to:  Communi- 
cation Search,  Office  of  Personnel,  UArts, 
320  S.  Broad  St.,  Philadelphia  PA  19102 
EOE. 

PREPRODUCTION  I 
DEVELOPMENT 

SCRIPT/  STORY/  CREATIVE  CONSULTANT 
MAUREEN  NOLAN  w/  8  years  Miramax 
experience,  script/story/creative  consultant 
Maureen  Nolan  offers  a  full  range  of  con- 
sulting services  for  writers  and  filmmakers. 
Script  consults,  coaching,  story  develop- 
ment, rewrites,  etc.  212-663-9389  or  917- 
620-6502. 

POSTPRODUCTION 

AUDIO  POST  PRODUCTION:  Full  service  audio 
post-production  facility.  Mix-to-picture, 
ADR,  voice-over,  sound  design  &  editing. 
Features,  shorts,  docs,  TV  &  Radio. 
Contact  Andy,  All  Ears  Inc:  (718)  399-6668 
(718)  496-9066  andy@allearspost.com  . 


BRODSKY  &  TREADWAY  film-to-tape  trans- 
fers, wet-gate,  scene-by-scene,  reversal 
film  only.  Camera  original  Regular  8mm, 
Super  8,  and  16mm.  For  appointment  call 
(978)  948-7985. 

NEGATIVE  CUTTING  FOR  FEATURES,  short 
films  etc.  Expert  conforming  of  35mm, 
Super  1 6  or  1 6mm  negative  to  workprint  or 
Avid  cut  list.  Superb  quality  work  and 
absolutely  clean  cuts.  Great  prices. 
Matthew:  617-244-6730;  mwdp@att.net. 

PRODUCTION  TRANSCRIPTS  Verbatim  tran 
scription  service  for  documentaries,  jour- 
nalists, film  and  video.  Low  prices  &  flat 
rates  based  on  tape  length,  www.produc- 
tiontranscripts.com  for  details  or  call:  (888) 
349-3022. 

WEB 

POST  YOUR  FILM  TRAILER,  DEMO  REEL.  VIDEO 

resume  on  your  website  and/or  send  them 
via  E-mail  to  any  e-mail  address.  Great  mar- 
keting tool!  $.05  per  viewing  minute.  Call 
or  e-mail  Tom  Aguilar  at  (480)  459-1 1 14  or 
visit  my  website  for  more  info. 

WEB  SITE  DESIGNER:  Create  multimedia 
web  sites,  integrating  video,  sound,  and 
special  effects,  that  promote  your  films 
and/or  your  company,  www.____________- 
design.com.  Info:  ______  ______,  phone: 
___-___-____,  email:  ______@______.net. 
jiggaproductions@excite.com.  ______prob 
stdesing.com. 


52    The  Independent  I  April  2005 


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COMPETITIONS 

2005  SANTA  BARBARA  SCRIPT  COMPETITION 

seeks  submissions.  Entry  fee  $40.  Grand 
Prize  -  $2000  Option,  First  Prize  S750-AII 
winners  will  also  receive  screenwriting- 
related  books,  materials  and  or  software. 
Special  Cash  Award  for  Regional  Writer  to 
be  awarded  to  a  South  Coast  Resident 
(Santa  Barbara,  Ventura,  San  Luis  Obispo 
counties  in  California).  Regular  submission 
deadline  is  June  30th  and  late  is  July  31. 
Contact:  Geoff@santabarbarascript.com  or 
visit  www.santabarbarascript.com. 

BUSINESS  FILMS  ELAN  announces  new 
screenplay  contest:  The  India  Screen  2005 
$500  -  $1000  Short  &  Feature  Screenplay 
Contest.  Deadline:  April  30,  2005.  Entry  is 
free  and  winning  films  will  be  slotted  for 
production.  For  more  information  and  sub- 
mission guidelines,  please  go  to: 
www.businessfilm.com/businessfilme 
Ian. html. 

CONFERENCES  WORKSHOPS 

GLOBAL  ENTERTAINMENT  &  MEDIA  SUMMIT 

2005:  New  York  City:  May  14-15,  2005.  A 
lively  and  engaging  forum  of  people  with 
vision  from  the  independent  and  main- 
stream music,  film,  video  and  multimedia 
worlds  of  the  entertainment,  media,  and 
communications  industries.  People  con- 
nect with  people,  exchanging  ideas  and 
creating  projects  in  a  context  of  innovation, 
reinvention,  and  possibility.  Together,  this 
community   is   proactively  effecting   new 


ways  to  achieve  sustainable  careers  and 
the  direction  of  the  revolution  now  taking 
place  in  marketing  and  distribution.  For 
more  information  visit  www.globalenter 
tainmentnetwork.com 

THE  EXPERIMENTAL  TELEVISION  CENTER 
INTERNATIONAL  RESIDENCY  2005  is  a  collab- 
orative video  and  sonic  arts  course,  spon- 
sored by  the  Institute  for  Electronic  Arts 
(IEA)  and  accredited  through  the  School  of 
Art  and  Design  at  Alfred  University,  for  pro- 
fessionals and  both  undergraduate  and 
graduate  students  May  25  -  June  5,  2005  . 
Activities  include  daily  technical  lectures  on 
equipment  operation,  with  lab  times  for 
independent  and  collaborative  art-making. 
Registration  is  limited.  There  is  a  fee.  For 
additional  information  and  registration  con- 
tact Pam  Hawkins  hawkinsp@alfred.edu. 

RESOURCES  FUNDS 

FILM  FORUM,  a  non-profit  cinema,  accepts 
applications  from  filmmakers  in  need  of  fis- 
cal sponsorship.  Film  Forum  retains  5%  of 
all  funds  received  on  behalf  of  the  filmmak- 
er from  funding  sources.  To  be  considered, 
please  send  a  letter  of  introduction  along 
with  a  project  narrative  to:  Film  Forum 
Fiscal  Sponsorship  Program  209  West 
Houston  Street  New  York,  NY  10014. 
Please  email  Dominick  for  more  informa- 
tion at  Dominick@filmforum.org 


KQED-TV  IN  SAN  FRANCISCO  provides  in-kind 
postproduction  assistance  to  a  number  of 
independent  projects  each  year.  Subject 
must    be    compelling    &    of    interest    to 


KQED's  viewers,  or  attract  new  audiences. 
Material  must  pass  technical  evaluation  for 
broadcast  quality.  Producer  must  supply 
rough  cut  for  review.  KQED  also  takes  on  a 
number  of  co-productions  each  year.  For 
more  info,  call  (415)  553-2859. 


LINCS  provides  matching  funds  up  to 
$100,000  to  partnerships  between  public 
TV  stations  and  independents.  Deadline: 
May  26,  2005.  Please  visit  www.itvs.org 
for  more  information. 


THE  CHARLES  AND  LUCILLE  KING  FOUNDA- 
TION has  established  several  ongoing  spon- 
sorship, grant  and  scholarship  programs, 
including:  Undergraduate  Scholarship 
Program  awarding  up  to  $5000  in  scholar- 
ships to  undergraduate  students  majoring 
in  television,  film  and  related  media  fields, 
the  NYU  Heinemann  Award  of  $10,000  to 
an  outstanding  film/video  senior  undergrad- 
uate at  New  York  University,  a  USC  Post 
Production  Award  of  an  annual  $10,000 
award  toward  the  completion  of  an  out- 
standing film/video  project  by  a  graduate 
student  in  the  MFA  program  at  the 
University  of  Southern  California,  and  the 
UCLA  Post  Production  Award,  giving  an 
annual  $10,000  award  toward  the  comple- 
tion of  an  outstanding  film/video  project  by 
a  graduate  student  in  the  MFA  program  at 
the  University  of  California,  Los  Angeles. 
Deadline:  April  15,  2005.  For  more  informa- 
tion, visit:  www.kingfoundation.org. 


THE  FUND  FOR  JEWISH  DOCUMENTARY  FILM- 
MAKING offers  grants  up  to  $50,000  for 


April  2005  I  The  Independent    53 


vn^b^osTPROTiLteVidN 


AVID    MEDIA    COMPOSER 
FINALCUT    PRO 


LOWEST    RATES    IN    NYC 


EXPERIENCED    EDITORS    AVAILABLE 


OUTPOSTEDIT.COM 


H   ST.   BROOKLYN,    NY    112  11 

71B-599-2385 


MEDIA  NOISE 

MUSIC     £t     SOUND 


ORIGINAL  MUSIC 

CREATIVE  SOUND  DESIGN 

MIX  TO  PICTURE 

VOICE  OVER 

FOLEY 

AUDIO  SWEETENING 


WILLIAMSBURG  -  BROOKLYN 


MEDIANOISEHEXCITE.COM 


completion  of  original  doc  films  &  videos 
that  interpret  Jewish  history,  culture  & 
identity  to  diverse  public  audiences. 
Applicants  must  be  U.S.  citizens  or  perma- 
nent residents.  Priority  given  to  works-in- 
progress  addressing  critical  issues,  can  be 
completed  within  1  year  of  award  &  have 
broadcast  potential.  Deadline  April  5,  2005. 
For  more  information,  visit:  www.jewiscul 
ture.org 

MICROCINEMAS  SCREENINGS 

CINEMARENO  a  year-round  festival  of  films. 
Monthly  screenings  showcase  independ- 
ent films  and  videos.  Formats:  16mm, 
Beta-SR  Mini-DV.  Preview  on  VHS  or  DVD. 
Entry  fee:  $20;  fee  waived  for  AIVF  mem- 
bers. Entry  form  &  instructions  at  www.cin- 
emareno.org.  Contact:  Cinemareno,  PO 
Box  5372,  Reno,  NV  89513.  Entry  form  and 
guidelines  at:  www.cinemareno.org. 

MICROCINEMAS  INDEPENDENT  EXPOSURE 
2005,  an  ongoing  microcinema  screening 
program  of  international  short  films,  videos 
&  digital  works  has  been  presented  hun- 
dreds of  times  in  35  countries  and 
Antarctica  and  2005  is  its  tenth  season. 
Seeking  short  video,  film  &  digital  media 
submissions  of  15  mm.  or  fewer  on  an 
ongoing  basis  for  the  ongoing  screening 
and  touring  program.  Artists  qualify  for  a 
nonexclusive  distribution  deal,  incl.  addi- 
tional license  fees  for  DVD  sales.  Looking 
for  short  narrative,  alternative,  humorous, 
dramatic,  erotic,  animation,  etc.  Works 
selected  may  continue  on  to  nat'l  &  int'l 
venues  for  additional  screenings.  Submit 
DVD  or  VHS  (NTSC/PAL)  labeled  w/  name, 
title,  length,  phone  #  &  any  support  materi- 
als, incl.  photos.  Submissions  will  not  be 
returned.  Contact:  Joel  S.  Bachar, 
Microcinema  International,  531    Utah  St., 


San  Francisco,  CA  94110;  info@microcine 
ma.com;  www.microcinema.com. 

TOURING  PROGRAMS 

FREE  FORM  FILM  FESTIVAL  is  a  year-round 
touring  event  created  by  loaf-i.com  and 
inner  mission  productions  is  now  taking 
submissions.  Seeking  films/videos  of  all 
formats  and  genres  (but  please  submit  on 
NTSC  VHS  for  initial  consideration).  The 
FFFF  brings  an  eclectic  collection  of  inno- 
vative films  to  cities  and  towns  across  the 
United  States.  Enter  now  to  be  considered 
for  our  West  Coast  tour  in  September. 
Enter  anytime  for  other  tours/exhibitions. 
The  FFFF  is  non-competitive,  but  offers 
opportunity  for  screenings  all  over  the  U.S. 
Entry  fee  is  $15  for  residents  of  the  U.S. 
and  Canada.  There  is  no  entry  fee  for  resi- 
dents of  other  countries.  See  freeform 
film.org  for  details  and  entry  forms. 

BROADCASTS  CABLECASTS 

IMAGEMAKERS  is  a  half-hour  program  airing 
in  San  Francisco  (PBS)  that  features  the 
best  short  films  from  around  the  world. 
Prefer  shorts  between  2  mm  and  25  mm. 
No  experimental  or  docs.  Prefer  shorts 
shot  on  35mm,  24p  or  in  letterbox.  Submit 
on  VHS  or  DVD.  Send  to:  Scott  Dwyer, 
KQED-TV  2601  Mariposa  Street,  San 
Francisco,  CA  941 10-1426.  Visit  web  site  at 
www.kqed.org/imagemakers. 

THE  SHORT  LIST.  Weekly,  half-hour  interna- 
tional short  film  series  on  PBS  and  cable 
now  licensing  for  13th  season.  Considers 
shorts  30  sees,  to  19  mms.  Send  DVD 
screener  with  application  form  downloaded 
from  www.theshortlist.ee  or  email  short 
list@mail.sdsu.edu. 


54  The  Independent  I  April  2005 


SILVERDOCS 

AFI/Discovery  Channel  Documentary  Festival 

June  14-19,  2005 


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"A  fantastic,  two  year  old  documentary  film  festival  " 

-  USA  Today 


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CONFERENCE  REGISTRATION 

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6  days  of  screenings,  more  than  75  films 
•  3-Day  International  Documentary  Conference  -  June  15-17,  2005 

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AQUARIUS  HEALTH  CARE  MEDIA  is  expand- 
ing our  list  of  quality  award  winning 
videos/DVD's  on  Life  Challenges.  We 
have  a  strong  interest  in  programs  on 
aging,  caregiving,  teen/youth  issues,  dis- 
abilities, chronic  disease,  complementary 
therapies  and  mental  health  issues.  Visit 
www.aquariusproductions.com  and 
email  brief  synopses  to  lbk@aquariuspro- 
ductions.com  or  contact  Aquarius  Health 
Care  Videos  at  888-440-2963,18  No  Main 
St.  Sherbom,  MA   01770. 

ASOLO  ART  FILM  FESTIVAL  seeks  entries 
by  May  20,  2005  that  fit  into  the  follow- 
ing five  categories:  films  on  art,  artists' 
live,  auteur  cinema:  the  challenge  of 
eroticism,  videoart-computer  art,  and 
productions.  Please  send  submissions 
with  entry  form,  filmography,  slides  and 
synopsis  to  AsoloArtFilmFestival, 
Foresto  Vecchio,  8,  31011  Asolo  [TV] 
Italy.  Email  info@asolofilmfestival.it  or 
visit  www.  asolofilmfestival.it  for  more 
information 

BALAGAN      EXPERIMENTAL      FILM/VIDEO 

SERIES  is  accepting  short  (30  minutes  or 


less)  films  (16mm,  super8)  and  videos 
(3/4,  miniDV,  VHS,  BETA  SP  or  DVD). 
Feel  free  to  submit  a  compilation  tape 
with  several  works  as  long  as  the  tape  is 
labeled  with  all  titles,  lengths,  etc.  There 
is  no  submission  fee.  There  is  no  date  of 
production  requirement  but  we  prefer  to 
screen  contemporary  works.  Submit  a 
VHS  (NTSC  or  PAL)  tape  clearly  labeled 
and  include  any  support  materials,  film- 
maker's bio,  photos  and  SASE  if  you 
would  like  your  tape  to  be  returned,  to: 
Balagan  Experimental  Film  and  Video 
Series  C/0  Alia  Kovgan  88  Winslow  Ave., 
#2  Somerville,  MA  02144  or  email  bal 
agan@rcn.com  for  more  info. 

BOXCAR,  a  screening  series  held  every 
two  months  at  the  Detroit  Film  Center,  is 
currently  seeking  submissions  of  short 
experimental  and  documentary  work. 
Send  submissions  on  mini  DV  along  with 
a  2-3  sentence  synopsis.  There  is  no 
form  or  entry  fee.  Send  work  to:  Detroit 
Film  Center,  c/o  Boxcar,  1227 
Washington  Blvd.  Detroit,  Ml  48226. 
Please  include  SASE  for  return  of  tape. 
boxcarcmema@hotmail.com. 


CELLULOID  SOCIAL  CLUB  is  a  monthly 
screening  series  in  Vancouver  featuring 
the  best  in  independent  provocative 
short  &  feature  films  &  videos  followed 
by  fun  &  frolic.  Hosted  by  Ken  Hegan  at 
the  ANZA  Club,  #3  West  8th  Ave., 
Vancouver,  BC.  No  minors.  Prizes  galore. 
For  more  info  call  (604)  730-8090  or  email 
celluloid@shaw.ca; 
www.CelluloidSocialClub.com. 

DREAM  SERIES:  Seeks  challenging  social- 
issue  documentaries  that  promote  frank 
community  discussions  about  issues  of 
racial  prejudice  and  social  injustice  that 
fall  under  the  Martin  Luther  King,  Jr., 
legacy.  Selected  works  are  screened  for 
this  ongoing  monthly  series  at  the  MLK 
National  Historic  Site  in  Atlanta,  GA,  and 
promoted,  listed,  and  reviewed  in  local 
print.  Formats:  VHS,  Beta.  Send  non 
returnable  VHS  screeners  to  Exhibitions 
Curator  IMAGE  Film  &  Video  Center  535 
Means  Street,  NW,  Suite  C  Atlanta, 
Georgia  30318  or  visit  www.imagefv.org 
for  more  info. 

FLICKER  CHAPEL  HILL  is  a  film  festival  that 


56  The  Independent  I  April  2005 


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holds  bi-monthly  screenings  at  the  Cat's 
Cradle  in  Carrboro,  North  Carolina.  Now 
accepting  short  super  8,  8mm,  16mm, 
and  35mm  films  that  originate  on  film 
and  are  less  than  15  mm.  long  [Pixelvision 
films  also  accepted].  There  is  no  entry 
fee!  Please  send  your  VHS,  DVD  or  Print 
to:  Flicker  Film  Festival  706  Davie  Road. 
Carrboro,  NC  27510.  Please  include 
synopsis,  bio,  contact  info,  a  description 
of  original  shooting  format,  length,  and 
any  production  stills.  Please  visit 
www.flickerfilmfestival.com  for  complete 
guidelines. 

IN0IEEXP0SURE  is  a  new  festival  designed 
to  build  an  ongoing  open  network  for 
independent  film  professionals  and 
"enthusiasts."  The  goal  is  to  provide  ppor- 
tunities  for  great  filmmakers  to  showcase 
their  work,  while  offering  film  buffs  more 
variety  and  easier  access  to  a  broader 
independent  film  community.  I.E.  will 
sponsor  screenings  of  select  films  on  a 
monthly  basis  at  a  local  Los  Angeles  the- 
atre. For  submission  procedure,  email 
lndieExposure@verizon.net  and  type 
"SUBMISSION"  in  the  subject  line. 


Rooftop  Films  has  been  showing  underground  films  and  videos  on  rooftops 
in  New  York  City  since  1997,  but  we're  more  than  just  a  summer  film  festival. 

We  offer  year-round  classes  in: 

*  video  editing  *  after  effects  *  cinematography  *  audio  editing  *  screenwriting  * 

We  create  affordable  touring  programs  for 
rental  or  purchase. 

With  a  library  of  over  900  films  we  can  tailor  a  program  to  your  needs.  To  bring 
a  Rooftop  Films  program  to  your  town  or  campus,  or  to  have  us  supervise  and 
provide  equipment  for  an  indoor  or  outdoor  screening  of  films  of  your  own 
choosing,  visit  our  website  or  call  (718)  417-7362. 


ROOFTOP  FILMS 

*  www.rooftopfilms.com  * 

Festival  *  Curated  Programs  *  Education  *  Equipment  Rentals  * 


April  2005  I  The  Independent     57 


MADCAT  seeks  provocative  and  visionary 
films  and  videos  directed  or  co-directed 
by  women.  Films  can  be  of  any  length  or 
genre  and  produced  ANY  year.  MadCat 
is  committed  to  showcasing  work  that 
challenges  the  use  of  sound  and  image 
and  explores  notions  of  visual  story 
telling.  All  subjects/topics  will  be  consid- 
ered. Submission  Fee:  $10-30  sliding 
scale.  Pay  what  you  can  afford.  For  an 
entry  form  and  more  details  go  to 
www.madcatfilmfest  ival.org  or  call  415 
436-9523.  Preview  Formats:  VHS  or 
DVD.  Exhibition  Formats:  35mm,  16mm, 
Super8,  Beta  SP,  Mini  DV,  VHS.  All 
entries  must  include  a  SASE  for  return  of 
materials.  Early  Deadline:  March  25, 
2005.    Final    Deadline:    May    13,    2005. 

MIDWEST  PRODUCTION  GROUP'S  INDIE 
FILM  CAFE  seeks  independent  films  of  all 
subjects  and  styles.  Strongly  encourage 
short  films  ten  minutes  and  less,  but  fea- 
tures and  shorts  longer  than  ten  minutes 
will  also  be  accepted.  Please  contact 
Kathryn  Kocitvongsa,  Director  of  Public 
Relations:  313-590-7309  or  email 
info@indiefilmcafe.net  for  the  submis- 
sion form  and  guidelines. 

REELBLACK  PRESENTS  is  a  Philadelphia- 
based  film  and  video  showcase  designed 
to  promote,  develop  and  nurture  an  audi- 
ence for  quality  African-American  film. 
We're  currently  looking  for  recent 
Features,  Shorts  &  Docs  by  and/or  about 
Black  Folks.    No  entry  fee.    Please  send 


CERTIFICATE  PROGRAMS  IN: 


Digital  Filmmaking 


Intensive  nine-month  programs  for  the  skills  and  tools  you  need  to  turn  your  ideas  into  reality. 
Financial  assistance  and  career  services  available.  Apply  now. 

[  Contact  us  at  800.802.2342  or  www.digitalimagingarts.com  ] 


NEW  DAY  FILMS  is  the  premiere  distribution 
company  for  social  issue  media  owned  and 
managed  by  filmmakers.  We  have  distributed 
documentary  film  and  video  for  over  30  years 
to  non-theatrical  markets.  With  a  strong  com- 
mitment to  diversity  within  our  membership 
and  the  content  of  the  media  we  represent, 
we  welcome  your  interest! 

www.newday.com  •  join@newday.com 


Or  call  Heidi  Emberling  650.347.5123 


Seeking  energetic 
independent  makers 
of  social  issue 
documentaries  for 
new  membership. 


THEEDITCENTER 

Learn  the  art  of  film  editing  while  working  on  an  actual  feature  film. 


4£  SUNDANCE  ^J| 
f  FILM  FESTIVAL  ^  ' 

Tadpole 

if     Class  Project     »< 

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ilf      CANNES      "*J. 
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For  additional  information  and  class  availability,  call  21 2-691 -2370  or  visit  our  website 

www.theeditcenter.com 

£  Authorized  Training  Center 


58  The  Independent  I  April  2005 


(non-returnable)  VHS  or  DVD  screeners 
w/  press  kit  to  REELBLACK,  P.O.  Box 
12302  Philadelphia,  PA  19119.  For  more 
info  contact  Miked@reelblack.com. 

STREET  MOVIES!  is  a  year-round  screening 
series  presented  by  Philadelphia's  Scribe 
Video  Center.  Free  series  tours  Philly 
neighborhoods  throughout  the  year  & 
offers  a  program  of  indy  cinema  to  the 
general  public  w/  a  forum  for  dialogue. 
Prefer  social  issue,  thought  provoking 
work  of  any  genre  or  style  as  well  as  kid- 
friendly  pieces.  Must  be  under  60  mms. 
&  will  receive  an  honorarium  if  selected. 
Founded:  1997.  Send  1/2"  VHS  or  DVD 
w/  synopsis  and  contact  info.  Contact: 
Phil  Rothberg,  Program  Coordinator;  215- 
222-4201;  email  stmovies@scribe.org; 
www.scribe.org. 

T  2005  TAURI  FILM  FESTIVAL,  a  division  of 
Ozark  Foothills  FilmFest,  is  open  to  film- 
makers age  18  and  under.  Entries  will  be 
judged  by  peer  panels  at  three  grade  lev- 
els: 4-6,  7-9,  and  1 0-1 2.  Entries  are  being 
sought  in  the  following  categories:  narra- 
tive, documentary,  music  video,  public 
service  message,  and  animation/experi- 
mental. Awards  will  be  given  for  the  best 
film  at  each  grade  level  in  each  category. 
Award-winners  and  other  films  selected 
by  the  judges  will  be  included  in  a  "Best 
of  T  Taun"  regional  touring  program.  VHS 
or  DVD  formatted  entries  should  be  sent 
to  T  Taun  Film  Festival,  195  Peel  Road, 


Students  experience  New  Zealand's 
Maori  culture  with  Whale  Rider,  learn 

of  young  monks'  lives  in  a  Tibetan 

monastery  from  The  Cup,  befriend  an 

Iranian  brother  and  sister  in 

Children  of  Heaven,  and  visit  rural 

Korea  with  a  boy  and  his 
grandmother  in  The  Way  Home... 
and  return  before  the  bell  rings! 


Journeys" 
in  Film 


An  Odyssey  in  Global  Education 

Journeys  in  Film  offers  the  opportunity  for 

Middle  and  High  School  students 

to  experience  WORLD  CULTURES  through 

innovative  curricula  and  feature  foreign  films. 

Contact  us  with  your  film! 

www.JoumeysinFilm 
info@JourneysinFilm.org;    Phone:  505.867.4666 

"If  we  are  committed  to  the  dream  of  world  peace,  we 

must  first  educate  our  children  and  teach  them 

understanding  and  compassion  for  other  people,  races, 

and  cultures.  Through  the  viewing  of  feature  films  from 

around  the  world,  we  can  begin  that  process." 

— Liam  Neeson,  National  Spokesperson 

Con&asa  "Liberty   ©woridwise 

Group  Publishing  schools 

With  your  vision  and  support  we  can  reach  hundreds  of  thousands  of  students. 
Please  contact  us  to  make  your  tax  deductible  donation. 


April  2005  I  The  Independent    59 


FIRST  ANNUAL 

NEW  CHINA 


Bridging  continents 
with  the  best  new 
independent  film  from 
China  and  the  U.S. 

New  York 

September  2005 

i 

Deadline:  June  30.  2005 


NEW  YORK 

FILM  FESTIVAL 

Gall  for  entries: 
Animation,  Shorts, 
Docs  and  Features 

Beijing 

October  2005 


www.newchinanewyork.com 


9th  Annual  MadCat  Women's  International  Film  Festival 
Showcasing  the  best  avant-garde  films  by  women 
from  around  the  globe  September  2005 

Call  for  Submissions  Final  Deadline:  May  13 

(Sendjour  submission  today) 

2005  Tour  On  the  road  again... 

MadCat  is  currently  touring  across  the  country  at  universities,  art  houses  and  museums. 
Check  out  the  web  site  for  entry  forms  and  the  tour  line  up  madcatfilmfestival.org 


"At  MadCat  you  too  can  be  treated  year  after  year  with  Ariella  Ben-Dov's  exceptional 
curatorial  savvy,  dedication  and  intelligent  cultural  contributions."  I  • 
Independent  Filmmakc''  MadCat  tests,  expands,  and  evolves  the  traditional,  politically 
motivated.  20th  Century  definition  of  the  women's  film  festival.  "  -  The  Independent 
Film  and  Video  Month!,  "MadCat  isn't  just  a  women's  film  festival  — it's  an  arty  showcase 
of  avant-garde  experimental  shorts  that  veer  far  from  the  traditional  modes  of 
storytelling. "  Female  filmmakers  have  evolved,  based  on  the  stellar  slate 

highlighted  at  MadCat,  where  post-feminism  morphs  into  profound  humanism. 
This  is  an  exciting  time  for  women  filmmakers,  and  for  all  moviegoers."    —  SF  Weekly 


4154369523  madcatf  ilmf  esti  val.org 


Locust  Grove  AR  72550  by  May  1,  2005. 
Additional  information  is  available:  film- 
fest@direcway.com  or  call  870-251-1 189. 


URBAN    MEDIAMAKERS   ASSOCIATION    is 

seeking  all  genres  and  languages  (subti- 
tled in  English)  for  the  2005  Quarterly 
Indie  Cinema  Night  Series  -  action,  ani- 
mation, horror,  sci-fi,  children,  drama, 
documentaries,  comedies,  music  videos, 
TV  shows,  and  new  media.  Submissions 
are  free  and  include  audience  evaluations 
and  an  opportunity  for  your  film  to  be 
showcased  on  public  television  in 
Atlanta,  Georgia,  Decatur,  Georgia, 
Canton,  Georgia,  Charlotte,  North 
Carolina,  Philadelphia,  Pennsylvania, 
Washington,  DC,  Chicago,  Illinois,  and 
Miami,  Florida.  Please  mail  a  VHS/DVD 
copy  of  your  film  and  include  a  synopsis 
of  the  film,  length  of  film,  a  short  bio  and 
resume  of  the  director/producer/writer. 
Also  include  press  materials  if  they  are 
available.  Submit  to  Urban  Mediamakers 
Association,  Attention:  Indie  Cinema 
Night,  P.O.  Box  50435,  Atlanta,  Georgia 
30302.  There  are  no  submissions  fees. 
Please  direct  questions  to  770.345.8048 
or  aumai@urbanmediamakers.com.  Visit 
our  web  site  at  www.urbanmediamak- 
ers.com. 

YOUNG    URBAN    MEDIAMAKERS   (YUMS) 

The  Urban  Mediamakers  Association  has 
an  ongoing  program  for  youth  ages  13-19 
focusing  on  animation,  film,  music,  tele- 
vision and  video.  We're  seeking  enthusi- 
astic youth  in  Atlanta,  Georgia  and 
Charlotte,  North  Carolina  for  this  pro- 
gram, which  includes  a  6-week  Summer 
program  that  partners  youth  with  media 
professionals  to  allow  participating  youth 
to  write,  produce,  and  screen  their  inde- 
pendent film  projects.  For  more  informa- 
tion, contact  the  YUMs  at  yum@urban- 
mediamakers.com  or  call  770.345.8048. 


60  The  Independent  I  April  2005 


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ALBANY/TROY,  NY: 

UPSTATE  INDEPENDENTS 

When:  First  Tuesdays,  6:30  p.m. 

Where:  Bulmer  Telecommunications  Center, 

Hudson  Valley  Community  College,  80 

Vandenburg  Ave.,  Troy,  NY 

Contact:  Jeff  Burns,  (518)  366-1538 

albany@aivf.org 

ATLANTA,  GA: 

IMAGE 

When:  Second  Tuesdays,  7  p.m. 

Where:  Atlanta  Contemporary  Art  Center, 

353  Means  Street 

Contact:  Sonia  Vassell,  (404)  352-4225  x20 

atlanta@aivf.org;  www.imagefv.org 

CHARLESTON,  SC: 

When:  Last  Thursdays,  6:30  p.m. 

Where:  Charleston  County  Library 

68  Calhoun  Street 

Contact:  Peter  Paolini,  (843)  805-6841;  or 

Peter  Wentworth,  charleston@aivf.org 

CLEVELAND,  OH: 

OHIO  INDEPENDENT  FILM  FESTIVAL 
Contact:  Annetta  Marion  or  Bernadette 
Gillota,  (216)651-7315 
cleveland@aivf.org;  www.ohiofilms.com 

COLUMBIA,  SC: 

When:  Second  Sundays 
Where:  Art  Bar,  1211  Park  St. 
Contact:  Wade  Sellers,  (803)  929-0066 
columbia@aivf.org 

DALLAS,  TX: 

VIDEO  ASSOCIATION  OF  DALLAS 

When:  Bi-monthly 

Contact:  Bart  Weiss,  (214)  428-8700 

dallas@aivf.org 


EDISON,  NJ: 

Where:  Passion  River  Productions, 
190  Lincoln  Hwy. 

Contact:  Allen  Chou,  (732)  321-071 1 
edison@aivf.org;  www.passionriver.com 

FORT  WAYNE,  IN: 

Contact:  Erik  Mollberg 

(260)  691-3258;  fortwayne@aivf.org 

HOUSTON,  TX: 

SWAMP 

When:  Last  Tuesdays,  6:30  p.m. 

Where:  1519  West  Main 

Contact:  Mary  Lampe,  (713)  522-8592 

houston@aivf.org 

HUNTSVILLE,  AL: 

Contact:  Charles  White,  (256)  895-0423 
huntsville@aivf.org 

JEFFERSON  COUNTY,  AL: 

Contact:  Paul  Godby,  (205)  956-3522 
jeffersoncounry@aivf.org 

LINCOLN,  NE: 

NEBRASKA  INDEPENDENT  FILM  PROJECT 

When:  Second  Wednesdays,  5:30  p.m. 

Where:  Telepro,  1 844  N  Street 

Contact:  Jared  Minary,  lincoln@aivf.org, 

(402)  467-1077,  www.nifp.org 

LOS  ANGELES,  CA: 

When:  Third  Mondays,  7:30  p.m. 

Where:  EZTV,  18th  Street  arts  Center,  629 

18th  St.,  #6,  Santa  Monica 

Contact:  Michael  Masucci 

(310)  829-3389;  losangeles@aivf.org 

MILWAUKEE,  Wl: 

MILWAUKEE  INDEPENDENT  FILM  SOCIETY 

When:  First  Wednesdays,  7  p.m. 


Where:  Milwaukee  Enterprise  Center, 
2821  North  4th,  Room  140 
Contact:  Laura  Gembolis,  (414)  688-2375 
milwaukee@aivf.org;  www.mifs.org/salo 

NASHVILLE,  TN 

Where:  See  www.naivf.com  for  events 
Contact:  Stephen  Lackey,  nashville@aivf.org 

PORTLAND,  OR: 

Where:  Hollywood  Theatre 

Contact:  David  Bryant,  (503)  244-4225 

portland@aivf.org 

ROCHESTER,  NY: 

Where:  Visual  Studies  Workshop 

Contact:  Liz  Lehmann 

(585)  377-1109;  rochester@aivf.org 

SAN  DIEGO,  CA: 

When:  Monthly 

Where:  Media  Arts  Center,  921  25th  Street 

Contact:  Ethan  van  Thillo  (619)  230-1938 

sandiego@aivf.org 

SAN  FRANCISCO,  CA: 

Contact:  Kathy  Vaguilar 

(510)  482-3484;  sanfrancisco@aivf.org 

SEATTLE,  WA: 

SEATTLE  INDIE  NETWORK 

When:  Bi-monthly 

Where:  Wiggly  World  and  91 1  Media  Arts 

Center 

Contact:  Andrea  Mydlarz,  Fiona  Orway; 

seattle@aivf.org 

TUCSON,  AZ: 

Contact:  Jana  Segal,  (520)  906-7295 
tucson@aivf.org 

WASHINGTON,  DC: 

Contact:  DC  Salon  hotline, 

(202)  661-7145,  washingtondc@aivf.org 


62  The  Independent  I  April  2005 


THANK  YOU 


The  Association  of  Independent  Video  and  Filmmakers 
(AIVF)  provides  a  wide  range  of  programs  and  services 
for  independent  moving  image  makers  and  the  media 
community,  including  The  Independent  and  a  series  of 
resource  publications,  seminars  and  workshops,  infor- 
mation services,  and  arts  and  media  policy  advocacy. 

None  of  this  work  would  be  possible  without  the 
generous  support  of  the  AIVF  membership  and  the 
following  organizations: 

We  also  wish  to  thank  the  following  individuals  and 
organizational  members: 


W 


□ 


Adobe  Systems,  Inc. 

City  of  New  York  Dept.  of  Cultural  Affairs 

Discovery  Wines 

Experimental  Television  Center  Ltd. 

Forest  Creatures  Entertainment,  Inc. 

Home  Box  Office 

The  Jewish  Communal  Fund 

John  D.  and  Catherine  T.  MacArthur  Foundation 

NAMAC 

The  Nathan  Cummings  Foundation 

The  National  Endowment  for  the  Arts 

New  York  State  Council  on  the  Arts 

The  Norman  and  Rosita  Winston  Foundation 

Panasonic  USA 

Public  Media,  Inc. 

Yuengling  Beer 


BUSINESS/INDUSTRY  MEMBERS:  AL  Cypress  Moon  Productions; 
AZ:  Ascension  Pictures;  CA:  Arrowire  LLC;  Groovy  Like  a  Movie; 
llluminaire  Entertainment,  Media  Del'Arte;  San  Diego  Asian  Film 
Foundation;  SJPL  Films,  Ltd.;  CO:  Pay  Reel;  CT:  Anvil  Production; 
DC:  Corporation  for  Public  Broadcasting;  FL:  Academy  Leader  Inc; 
Key  West  Films  Society;  New  Screen  Broacasting;  GA:  Lab  601 
Digital  Post;  IL:  Shattering  Paradigms  Entertainment,  LLC;  MA: 
Exit  One  Productions;  Monkey  Ray  Productions,  LLC;  MD: 
NewsGroup,  Inc.;  TLF  Limited  Management;  Ml:  Logic  Media 
LLC;  NH:  Kinetic  Films;  NJ:  Chica  Luna  Productions/Chica  Sol 
Films;  NY:  American  Montage;  Baraka  Productions;  Code 
16/Radical  Avid;  Cypress  Films;  DeKart  Video;  Deutsch/Open  City 
Films;  Docurama;  Forest  Creatures  Entertainment;  getcast.com; 
Gigantic  Brand;  Greenhouse  Pictures  LLC;  Harmonic  Ranch; 
Lantern  Productions;  Larry  Engel  Productions  Inc.;  Lightworks 
Producing  Group;  Mad  Mad  Judy;  Mercer  Media;  Missing  Pixel; 
Off  Ramp  Films,  Inc.;  On  the  Prowl  Productions;  OVO;  Possibilites 
Unlimited;  Production  Central;  Range  Post;  Robin  Frank 
Management;  Rockbottom  Entertainment,  LLC;  Triune  Pictures; 
United  Spheres  Production;  OR:  Art  Institute  of  Portland;  PA: 
Skanfo  Inc.;  Rl:  The  Revival  House;  WA:  Sound  Wise;  Two  Dogs 
Barking;  Singapore:  Crimson  Forest  Films 

NONPROFIT  MEMBERS:  AR:  Henderson  State  University; 
AZ:  Pan  Left  Productions;  CA:  Bay  Area  Video  Coalition;  California 
Newsreel;  Everyday  Gandhis  Project;  Film  Arts  Foundation; 
International  Buddhist  Film  Festival;  NALIP;  New  Images 
Productions;  Sundance  Institute;  USC  School  of  Cinema  and  TV; 
CO:  Denver  Center  Media;  Free  Speech  TV:  CT:  Film  Fest  New 
Haven;  Hartley  Film  Foundation;  DC:  American  University  School 
of  Communication;  CINE;  Gaea  Foundat+en;  FL:  Miami 
International  Film  Festival;  University  of  Tampa;  GA:  Image  Film 
and  Video  Center;  HI:  Pacific  Islanders  in  Communications;  IL:  Art 
Institute  of  Chicago  (Video  Data  Bank);  Community  Television 
Network;  Department  of  Communication/NLU;  Kartemquin  Films; 
IN:  Fort  Wayne  Cinema  Center;  KY:  Appalshop;  Paducah  Film 
Society;  MA:  CCTV;  Documentary  Educational  Resources; 
Harvard  University,  OsCLibrary;  LTC;  MD:  7  Oils  Production; 
Laurel  Cable  Network;  Silverdocs:  AFI  Discovery  Channel  Doc 
Festival;  ME:  Maine  Photographic  Workshop;  Ml:  Ann  Arbor  Film 
Festival;  MN:  IFP/MSP;  Walker  Art  Center;  MO:  Webster 
University  Film  Series;  MS:  Magnolia  Independent  Film  Festival; 
NC:  Calcalorus  Film  Foundation;  Duke  University,  Film  &  Video 
Dept.;  University  of  North  Carolina,  Dept.  of  Broadcast  and 
Cinema;  UNC,  Wilmington;  NE:  Nebraska  Independent  Film 
Project/AIVF  Salon  Lincoln;  Ross  Media  Center,  UN-Lincoln;  NJ: 


Black  Maria  Film  Festival;  Capriole  Productions;  Freedom  Film 
Society,  Inc.;  Princeton  University,  Program  in  Visual  Arts;  NM: 
Girls  Film  School;  University  of  New  Mexico;  NY:  ActNow 
Productions;  Arts  Engine;  Cornell  Cinema;  Council  for  Positive 
Images,  Inc.;  Creative  Capital  Foundation;  Crowing  Rooster  Arts; 
Educational  Video  Center;  Experimental  Television  Center;  Film 
Forum;  Film  Society  of  Lincoln  Center;  Firelight  Media;  Hourglass 
Group;  International  Film  Seminars;  LMC-TV;  Manhattan 
Neighborhood  Network;  Melted.org;  National  Black  Touring 
Circtuit;  National  Black  Programming  Consortium;  National 
Musuem  of  the  American  Indian;  National  Video  Resources;  New 
York  University,  Cinema  Studies;  New  York  Women  in  Film  and 
Television;  Parnassus  Works;  POV/The  American  Documentary; 
RIT  School  of  Film  and  Animation;  School  of  Visual  Arts,  Film 
Department;  Squeaky  Wheel;  Standby  Program;  Stonestreet 
Studios  Film  and  TV  Acting  Workshop;  Stony  Brook  Film  Festival; 
Syracuse  University;  Upstate  Films,  Ltd.;  Witness;  Women  Make 
Movies;  OH:  Athens  Center  for  Film  And  Video;  Independent 
Pictures/AIVF  Ohio  Salon;  Media  Bridges  Cincinatti;  School  of 
Film,  Ohio  University;  Wexner  Center;  Northest  Film  Center;  The 
Oregon  Film  &  Video  Foundation;  PA:  American  Poetry  Center; 
Philadelphia  Independent  Film  &  Video  Assoc.  (PIFVA);  Pittsburgh 
Filmmakers;  Scribe  Video  Center;  TeamChildren.com;  Rl:  Flickers 
Arts  Collaborative;  SC:  South  Carolina  Arts  Commission;  TN:  Indie 
Memphis  Film  Festival;  TX:  Austin  Film  Society;  Southwest 
Alternate  Media  Project;  UT:  Sundance  Institute;  WA:  Seattle 
Central  Community  College;  Thurston  Community  Television; 
Canada:  Banff  Centre  Library;  RIDM;  France:  The  Carmago 
Foundation 

FRIENDS  OF  AIVF:  Angela  Alston,  Sabma  Maja  Angel,  Tom 
Basham,  Aldo  Bello,  David  Bemis,  Doug  Block,  Liz  Canner,  Hugo 
Cassirer,  Williams  Cole,  Anne  del  Castillo,  Arthur  Dong,  Martin 
Edelstem,  Esq.,  Aaron  Edison,  Paul  Espinosa,  Karen  Freedman, 
Lucy  Garnty,  Norman  Gendelman,  Debra  Granik,  Catherine  Gund, 
Peter  Gunthel,  David  Haas,  Kyle  Henry,  Lou  Hernandez,  Lisa 
Jackson,  John  Kavanaugh,  Stan  Konowitz,  Leonard  Kurz,  Lyda 
Kuth,  Steven  Lawrence,  Bart  Lawson,  Regge  Life,  Juan 
Mandelbaum,  Diane  Markrow,  Tracy  Mazza,  Leonard  McClure, 
Daphne  McDuffie-Tucker,  Jim  McKay,  Michele  Meek,  Robert 
Millis,  Robert  Millis,  Richard  Numeroff,  Elizabeth  Peters,  Laura 
Poitras,  Robert  Richter,  Hiroto  Saito,  Larry  Sapadin,  James 
Schamus,  John  Schmidt,  Nat  Segaloff,  Robert  Seigel,  Gail  Silva, 
Innes  Smolansky,  Barbara  Sostaric,  Alexander  Spencer,  Miriam 
Stern,  George  Stoney,  Rhonda  Leigh  Tanzman,  Rahdi  Taylor,  Karl 
Trappe,  Jane  Wagner,  Bart  Weiss 


April  2005  I  The  Independent  63 


THE  LIST 


FROM  THE  BOTTOM  UP 


By  Lindsay  Gelfand 

The  strong  grassroots  sentiments  that  founded  AIVF  are  as  prevalent  as 

ever — and  according  to  this  month's  featured  filmmakers,  as  varied  as  ever. 

We  asked  filmmakers  to  share  with  us  the  grassroots  media  effort 

that  most  affected  them  or  their  career. 


"I  would  say  having  a  small  Texas  town  pull  support  for 
production  one  day  before  shooting — due  to  gay  content — is  a 
surefire  way  to  get  front  page  news.  It's  not  something  that  we 
planned,  but  something  so  drastic,  that  hurt  our  production,  is 
going  to  help  us  in  the  long  run." 

— Kim  Fishman,  producer,  Fat  Girls 

"I  would  have  to  say  that  the  work  of  Joelle  Ruby  Ryan,  a 
local  transgender  scholar,  writer,  and  activist,  has  most 
informed  my  desire  to  bring  about  change  in  the  world  through 
the  use  of  film.  In  creating  Transamazon,  A  Genderqueer  Journey, 
I  witnessed  first-hand  her  courage  and  bravery  in  fighting  big- 
otry, intolerance,  hate,  and  violence  against  people  who  don't  fit 
the  cookie  cutter  gender  mold  in  our  culture.  I  now  see  trans- 
gendered  people  as  the  most  evolved  spirits  on  the  planet." 
— Peter  Welch,  editor,  Transamazon,  A  Genderqueer  Journey 

"The  digital  revolution  and  the  willingness  on  the  part  of 
many  film  festivals  and  venues  to  show  digital  media  has 
tremendously  affected  my  artistry  and  career.  When  digital 
technology  became  accessible,  I  made  my  first  film,  a  feature 
called  Robin's  Hood,  and  it  played  at  over  50  film  festivals  on  five 
continents,  all  for  under  517,000.  Most  of  the  post-production 
done  in  my  own  living  room." 

— Sara  Millman,  writer/director,  Filmworks7 

"My  answer  would  definitely  be  POWER  UP,  the 
Professional  Organization  of  Women  in  Entertainment 
Reaching  UP,  a  nonprofit  organization  which  has  a  film  pro- 
duction program  that  is  run  entirely  by  volunteers." 

— Lisa  Thrasher,  producer 

"It's  the  kind  folks  at  Frameline  in  San  Francisco.  The  organ- 
ization  coordinates   the   largest   film   festival    in   the   state   of 


California,  the  San  Francisco  International  Lesbian  &  Gay  Film 
Festival,  and  the  largest  and  oldest  of  its  kind  worldwide.  It  is 
their  effort  that  is  responsible  for  the  international  global  con- 
nection of  queer  film  festivals  worldwide,  more  than  100  to 
date,  and  has  proven  to  broadcasters,  exhibitors,  and  other  film 
distributors  (including  the  CFMDC)  that  gay  is  the  way." 

— Jeff  Crawford,  festivals  officer  for  the  Canadian 
Filmmakers  Distribution  Center  in  Toronto 

"The  United  Nations  Fourth  World  Conference  on  Women 
in  China,  1995.  Over  40,000  grassroots  women  from  across  the 
globe  came  together  in  one  place  to  focus  on  women  and  girls' 
rights.  I  was  there  shooting  a  documentary.  Media  access  and 
education  were  identified  as  absolute  necessities  for  women's 
equality.  I  came  home,  finished  the  tape,  and  founded  our 
organization." 

— Salome  Chasnoff,  media  artist/activist/executive  director, 

Beyondmedia 

"The  word  is  out.  Without  a  doubt  the  growing  acceptance 
and  interest  in  the  voices  of  out  gay  filmmakers  has  really 
helped  launch  my  career.  Because  of  Network/Cable  TV  and 
Broadway,  through  gay  marriage  headlines,  the  unique  POV  of 
a  LGBT  minority  is  getting  a  chance  to  play  to  a  broader  world- 
wide audience." 

— David  M.  Young,  director/producer/writer/editor, 

Looking  For  Mr.  Right 

"Probably  the  Robert  Rodriguez  film,  El  Mariachi.  There  was 
such  a  street  buzz  about  how  his  career  in  film  was  launched  by 
a  S7,000  movie.  I  had  just  started  NYU  Film  School  and 
thought,  'I  can  do  this.'" 

— Brent  Sterling  Nemetz,  writer/director, 
Sterling  Films,  Ltd. 


64  The  Independent  I  April  2005 


2005  STONY  BROOK  FILM  FESTIVAL  JULY  21-30 


10  Days  Celebrating  10  Years 


Call  for  Entries 


Filmmakers'  Favorite 

"One  of  the  most  enjoyable  festival  experiences 
I've  had... in  the  top  tier  of  filmmaker-friendly  festivals 
anywhere. . .everyone  who  gets  invited  is  a  big  winner." 

—Mark  J.  Gordon,  writer  and  director,  Her  Majesty 

"Never  before  have  we  screened  for  over  900  people 
at  a  single  festival  screening.  You  have  unlocked  a  door 
that  many  a  festival  director  is  trying  to  find— the  key  to 
solid  attendance. " 

— Adrienne  Wehr,  producer,  The  Bread,  My  Sweet 

Entry  is  FREE  this  year  in  honor  of  our  1 0th  anniversary 

Competitions  in  35mm  and  16mm  films  include  features, 

shorts,  documentaries,  and  animation. 

Stony  Brook  Film  Festival  does  not  project  video. 

Largest  venue  and  film  screen  in  the  region 

•  1 ,000-plus  seats 

•  40-foot  screen 

•  More  than  1  3,000  attendees  at  the  2004  festival. 

Entry  forms  available  online  at  stonybrookfHmfestival.com 

Or  write  to: 

Stony  Brook  Film  Festival 

Staller  Center  for  the  Arts,  Room  2030A 

Stony  Brook  University,  Stony  Brook,  NY  1  1 794-5425 

Deadline:  May  2,  2005 

For  more  information,  call  631-632-7235 

or  e-mail:  filmfestival@stonybrookfilmfestival.com 


AA/EOE 


STONY   BROOK   UNIVERSITY 


www.stonybrookfilrnfestival.  com 


CENTER  FOR  THE  ARTS 


Since  its  introduction,  the  AG-OVX100A  has 
set  the  standard  for  affordable  24p  DV  produ^i™ 
ndreds  of  independent  movies,  TV  programs,  comme 
>cumentaries  to  its  credit.  This  Mini-DV  camcorder  offi 
best-in-class  features  including  CineSwitch  ~  24p/30p/60i  recording, 
extensive  auto/manual  controls,  exceptional  audio  performance 
and  a  CineGamma  curve  that  truly  emulates  the  rich  look  of  film. 
Plus,  it  works  seamlessly  with  your  favorite  24p-native  NLE 
systems.  Flexible,  quick  and  economical,  the  AG-DVX1 00A  has 
earned  the  trust  of  professionals  worldwide.  For  more  info,  visit 
www.panasonic.com/dvproline  or  1-800-528-8601. 


$/' 


■ 


Magic  Bullet  Editors  software  am 
Barry  Green's  The  DVX  Book  and 
DVD  tree  with  purchase.' 


Panasonic 
eas  for  life 


ok/DVQ  offer  requires  purchase  of  the  AG  •  DVX1 OOA  from  a  Panasonic  authorized  reseller  in  the  U.S.  Other  purchases  will  not  qualify  for  this  otter.     ©  2005  Panasonic  Broadcast 


a  magazine  for  video  and  filmmakers 


THE 


May  2005 

Film  Funds.  Marketing  Tools.  Festival  Listings 


Gets  Mysterious 


|s   $6.95  can 


74A70N801  H 


05 


1 


THE  BROTHERS  WILSON:  LUKE,  OWEN  &  ANDREW 

still  partial  to  capers  and  uniforms  in  Luke's  The  Wendell  Baker  Story 

KEEPING  THE  DAY  JOB 

if  Wallace  Stevens  can  do  it,  you  can  do  it 

EFFIE  BROWN 

consider  her  (duly)  noted 


A  Publication  of  The  Association  of  Independent  Video  and  Filmmakers 

www.aivf.org 


Since  its  introduction,  the  AG-DVX100A  has 
set  the  standard  for  affordable  24p  DV  production 
with  |undreds  of  independent  movies,  TV  programs,  commercials 
and  documentaries  to  its  credit.  This  Mini-DV  camcorder  off* 
best-in-class  features  including  CineSwitch "  24p/30p/60i  recon 
extensive  auto/manual  controls,  exceptional  audio  performance 
and  a  CineGamma  curve  that  truly  emulates  the  rich  look  of  film. 
Plus,  it  works  seamlessly  with  your  favorite  24p-native  NLE 
systems.  Flexible,  quick  and  economical,  the  AG-DVX100A  has 
earned  the  trust  of  professionals  worldwide.  For  more  info,  visit 
www.panasonic.com/dvproline  or  1-800-528-8601. 


K 


ii 


Magic  Bullet  Editors  software  and 
Barry  Green's  The  DVX  Book  and 
DVD  free  with  purchase." 


ideas  for  life 


. 


IVD  offer  requires  purchase  of  the  AG-0VX1 OOA  from  a  Panasonic  authorized  reseller  in  the  U.S.  Other  purchases  win  not  qualify  for  this  offer.     19  2005  Panasonic  Broadcast 


"'■'"'■,- 


/F  /T'S  /A/  VOC/R  HF/4D,  IT'S  IN  FLORIDA. 


677-352-34^6  (FLA- FILM)    •    8I8-S08-7772 


9 

r 

filminflorida.com 

The  Governor's  Office  of  Film  &  Entertainment j- 


1-800-611 -FILM  •  WWW.NYFA.COM 


—  ONE  YEAR  PROGRAMS 

Directing  for  Film 

Acting   for   Film 

Screenwriting   for   Film   and   TV 

3-D  Animation   and  Special   Effects 

Producing  for   Film   and   TV 

HANDS-ON  1,  4,  6  AND  8  WEEK  TOTAL  IMMERSION  PROGRAMS  AVAILABLE  AS  WELL  AS  EVENINGS: 

DIRECTING     •     PRODUCING    •    ACTING  FOR  FILM     •    SCREENWRITING 
MUSIC  VIDEOS    •    3-D  ANIMATION    •    DIGITAL  FILMMAKING    &    EDITING 


NEW  YORK  CITY 
UNIVERSAL  STUDIOS 


DISNEY-MGM  STUDIOS 


HARVARD  UNIVERSITY* 

PRINCETON  UNIVERSITY* 

SUMMER  FILMMAKING  AND  ACTING  AT  SEA 


LONDON,  ENGLAND 
FLORENCE,  ITALY* 


PARIS,  FRANCE 


new  yccr  riL/Vt  ACA^EAtr 


LONDON,  ENGLAND 

King's  College  London 

26-29  Drury  Lane,  London  WC2B  5RL 

tel  020-7848-1523  •  fax  020-7848-1443 

email:  fUmuk@nyfa.com 


FILM  -  VIDEO  -  PRO  AUDIO 


NEW  YORK  CITY 

100  East  17th  Street 

New  York  City  10003 

tel  212-674-4300  •  fax  212-477-1414 

email:  film@nyfa.com 


aMC 


UNIVERSAL  STUDIOS 

Gate  4,  Barham  Blvd.,  Lakeside  Plaza 

Los  Angeles,  California  91608 

tel:  818-733-2600  •  fax:  818-733-4074 

email:  studios@nyfa.com 


All  workshops  are  solely  owned  and  operated  by  the  New  York  Film  Academy  and  are  not  affiliated  with  Harvard  University,  Princeton  University,  Universal  or  Disney-MGM  Studios.  'Summer  only 


Volume  28  Number  4 

Cover:  Director  Greg  Araki  on  set  (courtesy  of  Tartan  Films) 


Upfront 

5  EDITOR'S  LETTER 

6  CONTRIBUTORS 
9  NEWS 

The  National  Museum  of  the  American  Indian 
launches  First  Nations/First  Features;  Film  Baby 
delivers  an  online  outlet 
By  Amy  Thomas 

12  UTILIZE  IT 

Tools  and  news  you  can  use 
By  David  Aim 

14  DOC  DOCTOR 

How  to  afford  distribution  on  a  small  marketing 
budget;  the  challenge  ot  crew  relationships 
By  Fernanda  Rossi 

1 6  FIRST  PERSON 

A  Miramax  script  developer  busts  some  industry 
myth-conceptions 

By  Maureen  A.  Nolan 

19  Q/A 

Luke  Wilson  sweats  the  premiere  of  The  Wendell 
Baker  Story  at  SXSW 
By  Rebecca  Carroll 

22  FESTIVAL  CIRCUIT 

White:  A  Film  Series  asks:  how  does  American 
cinema  address  whiteness  as  a  racial  category? 
By  Nicholas  Boston 

25  PRODUCTION  JOURNAL 

Documenting  a  damaged  man  in  Why  Neal? 
By  Chris  Deleo 

28  ON  THE  SCENE 

Xan  Cassavetes's  Z  Channel:  A  Magnificent 
Obsession  and  the  10-year-otd  IFC — a  match 
made  in  heaven 

By  Sarah  J.  Coleman 


Features 


32  GREG  ARAKI 

A  shockingly  unshocking  new  film  for  the  post- 
preference  generation 
By  Lisa  Selin  Davis 

36  KEEPING  THE  DAY  JOB 

Finding  a  balance  between  what  pays  you  and 
what  rewards  you 
By  David  Roth 

40  EFFIE  BROWN 

Super  producer  busts  out  on  her  own — 
Oprah-style 

By  Kate  Bernstein 

44  LEGAL 

Co-author  vs.  co-collaborator:  the  logistics  of 
joint  copyright  scenarios 
By  Fernando  Ramirez 


Listings 

46  FESTIVALS 
54  CLASSIFIEDS 
57  NOTICES 
60  WORK  WANTED 

63  THANKS 

64  THE  LIST 


www.aivf.org 


May  2005  I  The  Independent    3 


National  exposure,  viewer  feedback,  cachet  in  film  circles,  and. 

yes.  money  that  can  help  pay  off  production  costs  are  some  of 

the  benefits  of  having  a  film  selected  by  TV's  longest-running 

nonfiction  film  series.''  -Bill  Keveney.  USA  loday 


P.O.V.  Announces 

Season  19  Open  Call  For  Entries  and 

The  Diverse  Voices  Project  II 

jppwted  by  the  Corporation  for  Public  Broadcasting  3  private  nonprofit  corporation  funded  by  the  American  r, 

NEW  ONLINE  SUBMISSION  PROCESS 


Apply  online! 

Please  visit  us  at 

www.pbs.org/pov/callforentries 

to  apply. 

Questions? 

Call  P.O.V.  at 
1-800-756-3300  ext.  380 


Call  For  Entries:  P.O.V..  public  television's  premiere  showcase  for  independent 

non-fiction  film  seeks  submissions  from  all  perspectives  to  showcase  in  annual 

PBS  series.  P.O.V.  welcomes  all  subjects,  styles  and  lengths.  Unfinished  films 

may  be  eligible  for  completion  funds.  Open  Call  guidelines  are  available  for 

review  at  www.pbs.org/pov/forproducers 

The  Diverse  Voices  Project  II.  with  up  to  $80,000  in  coproduction  funding 
available  to  emerging  filmmakers,  is  P.O.V.'s  initiative  to  support  stories  about 
diverse  communities*  produced  by  emerging  makers.  Guidelines  for  applying  to 

the  Diverse  Voices  Project  II  are  available  for  review  at  www.pbs.org/pov/dvp 


"Please  visit  the  P.O.V.  website  for  eligibility  requirements. 

The  submission  deadline  for  the  2006  Season  and  DVP  II  is  July  1, 2005 


James  A.  Michener  Center  for  Writers 


^J^ajS&iTpf^  A^U*-&     jT^/ 


'£    ■<*+-     f/f  4^/ 


v 

X 


DIRECTOR 
James  Magnuson 


Combine  work,  in 
with  fiction, 
poetry  or  playwriting  in  our  unique 
interdisciplinary  MFA  degree  program. 
Students  arc  fully  funded  by 
annual  fellowships  of$l  7,500. 

512/471.1601    •    www.utexas.edu/academic/mcw 

RECENT  GUEST  SCREENWRITERS 

William  Broyles    •    Tim  McCanlies    •    Mark  Medoff 
Anne  Rapp    •    Steven  Soderbcrgh    •    Ed  Solomon 

THE  UNIVERSITY  OF  TEXAS  AT  AUSTIN 


independent 


Publisher:  Bienvenida  Matias 

[publisher@aivf  org] 

Editor-in-Chief:  Rebecca  Carroll 

[editor@aivf.org] 

Managing  Editor:  Shana  Liebman 

|independent@aivf  org] 

Assistant  Editor:  Rick  Harrison 

[fact@aivf.org] 

Designer:  R.  Benjamin  Brown 

[benbrowngraphic@msn.com] 

Production  Associate:  Timothy  Schmidt 
[graphics@aivf.org] 

Editorial  Associate:  Lindsay  Gelfand 
[notices@aivf.org] 

Contributing  Editors: 

Sherman  Alexie,  David  Aim,  Pat  Aufderheide, 

Monique  Cormier,  Bo  Mehrad,  Cara  Merles,  Kate  Turtle 

Contributing  Writers: 

Elizabeth  Angell,  Margaret  Coble,  Lisa  Selin  Davis, 

Matt  Dunne,  Gadi  Harel,  Rick  Harrison 

Advertising  Representative:  Veronica  Shea 

(212)  807-1400  x232;  [veronica@aivf.org] 

Advertising  Representative:  Michael  Tierno 

(212)  807-1400  x234;  [mike@aivf  org] 

Classified  Advertising:  Michael  Tierno 

(212)807-1400x241,  [classifieds@aivf.org] 

• 

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• 

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The  Independent 
304  Hudson  St.,  6  fl .  New  York.  NY  10013 

The  IndependentWSSN  1077-8918)  is  published  monthly  (except 
combined  issues  January/February  and  July/August)  by  the 
Foundation  for  Independent  Video  and  Film  (FIVF),  a  501(c)(3) 
dedicated  to  the  advancement  of  media  arts  and  artists. 
Subscription  to  the  magazine  is  included  in  annual  membership 
dues  ($70/yr  individual,  $40/yr  student,  $200/yr  nonprofit/school: 
$200-700/yr  business/industry)  paid  to  the  Association  of 
Independent  Video  and  Filmmakers  (AIVF),  the  national  profes- 
sional association  of  individuals  involved  in  moving  image  media 
Library  subscriptions  are  $75/yr  Contact:  AIVF,  304  Hudson  St., 
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„  Publication  of  The  Independent  is  made  possible 

^p  in  part  with  public  funds  from  the  New  York  State  Council 

::::::.::  on  the  Arts,  a  state  agency,  and  the  National  Endowment 

" for  the  Arts,  a  federal  agency. 

Publication  of  any  ad  in  The  Independent  does  not  constitute  an 
endorsement.  AIVF/FIVF  are  not  responsible  for  any  claims  made  in 
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member  of  the  Independent  Press  Association, 

AIVF/FIVF  staff:  Bienvenida  Matias,  executive  director; 
Soma  Malta,  program  director,  Priscilla  Grim,  membership  director; 
Bo  Mehrad,  information  services  director,  Greg  Gilpatrick, 
technology  consultant;  Karen  Odom,  Joseph  Trawick-Smith,  interns, 
AIVF/FIVF  legal  counsel:  Robert  I  Freedman,  Esq.,  Cowan,  DeBaets, 
Abrahams  &  Sheppard. 

AIVF  Board  of  Directors:  Joel  Bachar,  Doug  Hawes-Davis,  Paula 
Manley  (Secretary),  Bienvenida  Matias  (ex  oficio),  Simon  Tarr 
(ChairAreasurer),  Elizabeth  Thompson  (President),  Bart  Weiss. 

©  Foundation  for  Independent  Video  &  Film,  Inc.  2004 
Visit  The  Independent  online  at:  www.aiv1.org 


4  The  Independent  I  May  2005 


EDITOR'S  LETTER 


Dear  Readers, 

As  the  magazine's  aesthetic  continues  to 
change  in  subtle  but  significant  ways,  I'd  like  to 
bring  to  your  attention  one  such  change.  You 
may  notice  that  on  the  cover,  rather  than  call- 
ing ourselves  The  Independent  Film  &  Video 
Monthly,  we  are  now  going  simply  by  The 
Independent,  with  the  tagline  "a  magazine  for 
video  and  filmmakers"  (lest  we  be  mistaken  for 
The  Independent  out  of  London — yeah,  that'll 
happen),  which  we  feel  connects  us  more  to 
our  parent  organization,  the  Association  of 
Independent  Video  and  Filmmakers,  as  we 
should  be,  and  is  also  a  bit  less  newsletter- 
sounding. 

This  issue  also  introduces  a  new  section 
called  "UTILIZE  IT" — an  in-brief  look  at 
newsworthy  items  and  new  equipment  that 
may  come  in  handy  to  you  right  now.  And 
with  it  comes  a  new  contributing  editor,  David 
Aim,  who  also  writes  frequently  for  The 
Independent.  And  next  month  we'll  add  a 
"Members  in  the  News"  page  for  outstanding 
AJVF  member  announcements  and  achieve- 
ments— see  your  latest  issue  of  SPLICE!  for 
how  to  submit  your  announcement. 

Because  I  get  so  much  great  information 
about  independent  film  work  being  done  out 
there  that  may  not  fit  the  current  theme  issue 
and  also  because  I  always  tout  The 
Independent  as  a  magazine  about  "the  culture 
of  independent  film,"  twice  a  year  (most  like- 
ly May  and  June)  we  will  focus  on  independ- 
ent film  in  general.  This  issue  you  are  reading 
now  is  one  such  general  issue. 

I  saw  Gregg  Araki's  Mysterious  Skin  (out 
this  month  from  Tartan  Films)  at  Sundance 
earlier  this  year  and  was  blown  away — it  was 


so  powerful,  quiet,  and  strangely  gentle,  even 
despite  scenes  featuring  graphic  sexual  vio- 
lence. Just  a  beautiful,  if  somewhat  unsettling 
film.  Lisa  Selin  Davis  talked  to  Araki  about 
the  film,  his  moral  center,  and  his  freak-filled 
filmmaking  career  (page  32). 

Most  of  us  who  are  passionate  about  writ- 
ing, art,  filmmaking — anything  remotely  cre- 
ative— have  had  to  hold  down  a  job  we  didn't 
like  at  one  time  or  another  in  order  to  pay  the 
bills.  Although  some  people  (like,  say,  my  par- 
ents) just  do  the  artist  thing  straight  up  and 
hope  they  don't  ever  get  sick  or  break  a  bone 
(or  fall  prey  to  any  other  fate  where  health  and 
medical  insurance  would  be  really,  really  help- 
ful), others  either  can't  stand  the  risk  or  are  just 
fairly  pragmatic  folks  who  believe  in  having 
insurance  and  paying  the  rent.  Freelance  writer 
David  Roth  talked  to  some  of  those  folks  in  his 
piece,  "Keeping  the  Day  Job"  (page  36),  and 
discovered  that  living  in  a  cold,  dark  garret 
subsisting  on  bread  and  water  may  be  totally 
passe,  but  working  for  a  living  is  no  small  feat. 
"You  can  be  the  most  motivated  person  in  the 
world  and  it's  still  going  to  be  difficult,"  says 
Kate  Bernstein,  filmmaker,  VH 1  producer, 
and  freelance  writer,  who  writes  for  this  publi- 
cation and  has  a  piece  in  this  issue  ("Effie 
Brown,"  page  40). 

Also  in  this  issue,  Xan  Cassavette's  Z 
Channel:  A  Magnificent  Obsession,  and  why 
IFC  is  the  perfect  home  for  this  documentary 
about  the  legendary  cable  channel  out  of  LA 
run  by  Jerry  Harvey  in  the  late  70s  and  early 
80s  (page  28).  Our  beloved  Doc  Doctor, 
Fernanda  Rossi,  answers  perpetually  relevant 
questions  about  how  to  tackle  the  behemoth 
that  is  the  film  industry,  while  staying  inde- 
pendent and  true  to  yourself  as  a  filmmaker 
(page  14).  Former  Miramax  script  consultant, 
Maureen  Nolan,  demythologizes  film  devel- 
opment executives  (page  16);  and  I  sat  down 
with  Luke  Wilson  at  the  SXSW  Film  Festival 
in  March,  where  his  feature  film,  The  Wendell 
Baker  Story  premiered,  and  badgered  him  like 
an  obsessed  fan  about  the  brilliance  of  Bottle 
Rocket  (page  19). 

Enjoy,  and  thanks  tor  reading 
The  Independent, 
Rebecca  Carroll 


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*  Including  regular  and  special  issues 


May  2005  I  The  Independent  5 


It's  not 

just  for 

Westerns 

anymore 


FILM,  ARTS  & 
ENTERTAINMENT 


www.wyomingfilm.org 


CONTRIB 


DAVID  ALM  teaches  film  history  and 
writing  at  two  colleges  in  Chicago.  His 
writing  has  appeared  in  Artbyte, 
Camerawork,  RES,  Silicon  Alley  Reporter, 
SOMA,  and  The  Utne  Reader.  He's  also 
contributed  to  books  on  web  design  and 
digital  filmmaking  and  assisted  in 
making  documentaries  about  architecture 
and  earbaee. 


day  soon.  Her  journalism  has  appeared  in 
New  York  Newsday,  The  San  Francisco 
Chronicle,  Salon,  and  The  Boston  Phoenix, 
among  others. 

LISA  SELIN  DAVIS  is  the  author  of 
the  novel,  Belly,  forthcoming  from  Little, 
Brown  &  Co.,  and  a  freelance  writer  in 
New  York. 


NICHOLAS  BOSTON  writes  about 
media  and  culture  for  various  publica- 
tions. He  is  an  assistant  professor  of  jour- 
nalism and  mass  communications  at 
Lehman  College  of  the  City  University  of 
New  York. 


CHRIS  DELEO  grew  up  in  Ozone 
Park,  New  York,  and  earns  his  living  as  a 
professional  magician,  performing  for  pri- 
vate clients  and  exclusive  clubs.  He  always 
dreamed  about  making  a  film,  but  it  was- 
n't until  his  late  twenties  that  he  saw  an 
opportunity  in  his  friend,  Neal  Hecker. 
SARAH  COLEMAN  is  books  editor  He  started  filming  in  1997,  completing 
of  Planet  magazine  and  writes  on  the  arts  the  project  in  2000.  He  is  currently  out- 
for  various  publications.  She  has  an  MFA  lining  a  John  Cassavettes-style  film  and 
in  fiction  writing  from  Columbia  hopes  one  day  to  convince  Sara  Gilbert  to 
University  and  hopes  to  put  it  to  use  some      take  the  leading  role. 


The  Independent  I  May  2005 


JTORS 


MAUREEN  A.  NOLAN  is  a  script, 
story,  and  creative  consultant  who  works 
with  writers  and  filmmakers  on  story 
development,  script  doctoring,  and 
rewrites.  Her  background  includes  eight 
years  as  a  top  script  and  story  analyst  for 
Miramax  Films.  She  has  also  worked  as  an 
analyst  for  HBO  and  Columbia  Tristar 
Television,  and  has  served  as  resource 
consultant  for  scripts  for  the  IFP's 
Resource  Consultant  Panel.  She  holds  an 
MFA  in  dramatic  writing  from  New  York 
University.  Recently,  she  was  the  industry 
mentor  for  the  AIVF  Screenwriter 
Mentorship  Program. 

FERNANDO  RAMIREZ  is  an  attor- 
ney in  private  practice  in  New  York  City, 
where  he  lives  with  his  wife  and  12-year- 
old  son/aspiring  doc-maker.  Mr.  Ramirez 
graduated  from  Fordham  University,  and 
earned  his  law  degree  from  Brooklyn  Law 
School.  His  work  involves  transactional 
entertainment  law;  he  drafts,  reviews, 
and/or  negotiates  industry  agreements, 
and  advises  on  copyright,  trademark,  con- 
tracts, privacy,  and  business  formation 
matters  for  independent  filmmakers, 
executive  producers,  media  personalities, 
singer/songwriters,  personal  managers, 
independent  labels,  and  nonprofit  film 
organizations. 

FERNANDA  ROSSI,  known  as  the 
Documentary  Doctor,  is  a  filmmaker  and 
story  consultant  who  helps  filmmakers 
craft  the  story  structure  of  their  films  in  all 
stages  ol  the  filmmaking  process.  She  has 
doctored  over  100  documentaries  and  fic- 
tion scripts  and  is  the  author  of  Trailer 
Mechanics:  A  Guide  to  Making  your 
Documentary  Fundraising  Trailer.  For  more 
info:  www.documentarydoctor.com. 


DAVID  ROTH  is  a  writer  from  New 
Jersey  who  lives  in  New  York.  His  day  job 
is  in  the  baseball  card  business,  and  his 
nonfiction  has  appeared  in  The  New 
Republic  Online,  McSweeneys.net,  The 
Green  Magazine  and  Fly.  His  short  story 
"The  Other  Woman"  appears  in  Post 
Road  #10. 


AMY  THOMAS  has  forever  been  an 
indie  movie  fan,  even  though  this  is  her 
first  assignment  for  The  Independent.  The 
founder  ofmodgirl.com,  Amy  has  written 
about  everything  from  digital  photogra- 
phy to  chocolate  souffles  for  magazines 
such  as  Lucky,  Time  Out  New  York,  CITY 
and  Weddinghells. 


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NEWS 


Featured  Firsts 


Capturing  the  voice  and  vision  of  indigenous  filmmakers 

By  Amy  Thomas 


Evan  Adams  (foreground)  with  Adam  Beach  in  the  1998  Smoke  Signals — which  opens  First  Nations/First  Features  at  the  MoMA 
(Jill  Sabella/Miramax) 


Most  people  (and  certainly  this 
magazines  readers)  are  aware 
that  moviemaking  is  dominat- 
ed by  Hollywood.  Mega  budgets  and 
proven  directors  and  flashy  marketing 
and  spin  rule  the  game  that  puts  films  on 
the  big  screen.  It's  rare  that  a  good  foreign 
film  comes  to  the  local  cineplex,  much 
less  a  movie  made  by  an  indigenous  film- 
maker like  the  Zapotec  from  Mexico  or 
New  Zealand's  Maori.  Thankfully,  this  is 
something  that  three  prestigious  institu- 
tions decided  it  was  time  to  change. 

From  May  11-22,  The  Museum  of 
Modern  Art,  the  Smithsonian  National 
Museum     of     the     American     Indian 


(NMAI),  and  the  New  York  University 
Center  for  Media,  Culture  and  History 
are  bringing  a  showcase  of  more  than  20 
films  by  indigenous  filmmakers  to  New 
York  City  and  Washington,  DC.  The  pro- 
gram, titled  First  Nations/First  Features, 
launches  in  New  York  at  the  recently 
expanded  MoMA  and  will  remain  there 
until  moving  south  to  DC  on  the  18th. 
It's  a  forum  that  celebrates  feature-length 
films  (and  a  handful  of  shorts)  of  indige- 
nous directors  from  communities  like 
Inuit,  Maori,  Native  North  and  South 
American,  Nenet,  and  others,  and  will 
collectively  offer  entertainment,  inspira- 
tion, and  overdue  recognition. 


"We  all  felt  that  this  work  deserved 
wider  attention  —  the  mainstream  atten- 
tion," said  MoMA's  Sally  Berger,  who 
organized  the  program  with  Faye 
Ginsburg,  director  of  the  Center  for 
Media,  Culture  and  History  at  NYU, 
Elizabeth  Weatherford  from  NMAI,  and 
independent  curator  Pegi  Vail.  "We  came 
up  with  the  idea  knowing  that  people  did- 
n't know  about  this  work."  Each  of  the 
collaborators,  though,  has  had  a  long- 
standing interest  in  and  involvement  with 
the  indigenous  genre.  Now,  about  three 
years  after  first  coming  up  with  the  idea 
for  the  showcase,  they're  thrilled  to  be 
sharing  the  films  with  a  larger  audience. 


May  2005  I  The  Independent    9 


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"The  program  fell  into  place  because 
we  were  looking  at  this  notion  of 'firsts,'" 
Berger  said.  In  addition  to  first  features 
made  by  the  director  and/or  indigenous 
group,  the  organizers  sought  films  that 
represented  groundbreaking  work  and 
different  landmarks  in  indigenous  pro- 
duction. Because  the  highlighted  films 
were  firsts,  some  date  as  far  back  as  the 
80s,  such  as  Norway's  The  Pathfinder — 
that  nation's  first  Lapp-language  feature 
film — and  ham  Hakim  Hopiit  from  the 
United  States,  which  celebrates  Hopi 
Tricentennial. 

In  more  recent  years,  works  by  a 
younger  generation  have  been  meeting 
with  increased  mainstream  success.  Tivo 
Cars,  One  Night,  directed  by  Maori  New 
Zealander  Taika  Waititi,  tells  the  story  of 
two  boys  and  a  girl  who  begin  a  friend- 
ship in  the  parking  lot  of  a  motel  bar. 
This  past  year,  it  became  the  first  Maori- 
made  Academy  Award-nominated  short 
film.  It  will  be  presented  with  a  film  from 
Australia's  Ivan  Sen — a  "wonderful  up 
and  coming  director"  according  to 
Berger — called  Beneath  Clouds. 

The  directors  featured  in  First 
Nations/First  Features  are  not  only  from 
a  new  generation.  For  the  past  two 
decades,  indigenous  directors  have  been 
creating  groundbreaking  work  and 
receiving  international  accolades.  When 
Smoke  Signals  premiered  at  Sundance  in 
1998,  it  received  unprecedented  accept- 
ance and  went  on  to  gain  distribution 
and  win  praise  from  Native  Americans 
and  the  general  public  alike.  It  was  the 
first  time  that  Native  Americans  directed 
and  co-produced  a  film — and  arguably  it 
was  the  first  time  this  indigenous  group 
was  presented  in  such  real,  honest  terms. 
The  movie's  characters,  based  on  those 
from  a  collection  of  short  stories  by 
Sherman  Alexie,  who  adapted  them  for 
the  screen  along  with  the  director,  Chris 
Eyre,  were  complex  and  human,  not  one- 
dimensional  sidekicks.  As  perhaps  the 
most  recognized  movie  by  an  indigenous 
director,  Smoke  Signals  will  kick  off  First 
Nations/First  Features  on  May  12.  As 
with  most  films  in  the  program,  the 
director  will  be  present  to  introduce  the 
work. 

Another  film  that  broke  barriers  and 
gained    international    recognition    was 


director  Zacharias  Kunuk's  Atanarjuat: 
The  Past  Runner.  Canada's  first  feature- 
length  film  written,  produced,  directed, 
and  acted  by  Inuit  won  the  Camera  d'Or 
at  the  2001  Cannes  Film  Festival.  The 
movie,  based  on  a  traditional  Inuit  story, 
is  about  two  brothers  who  challenge  the 
curse  of  an  evil  shaman. 

It  the  organizers  have  their  way,  First 
Nations/First  Features  will  give  these 
indigenous  filmmakers  a  prestigious 
world  stage  on  which  to  share  their  tal- 
ents. Something  that,  as  Beverly  Singer,  a 
filmmaker  and  member  of  program's 
advisory  circle,  points  out  is  especially 
important  in  today's  world.  She  said: 
"These  first  features  remedy  the  absence 
of  aboriginal/indigenous  cultural  voices  in 
the  fiction  filmmaking  world.  It  is  [espe- 
cially] important  [post  9/11]...  in  light  of 
intolerance  about  different  beliefs.  These 
films  are  stories  that  reflect  a  different  cul- 
tural and  sometimes  more  thoughtful  film 
landscape,  wherein  moviegoers  should 
expect  not  simply  to  be  just  entertained — 
but  to  become  informed  viewers." 

For  more  information,  please  visit 
www.firstnationsfrsfeatures.org. 

An  Online  Outlet  is  Born 

For  anyone  who  has  scored  music  they 
couldn't  find  anywhere  else  at 
CDBaby.com,  rejoice:  You  can  now  do 
the  same  for  independent  films. 

Drawing  from  a  great  business  model 
plus  seven  years  of  experience  with  CD 
Baby,  Film  Baby's  mission  is  to  deliver 
independent-only  titles  to  movie  buffs 
the  world  over.  "I  am  a  true  fan  of  inde- 
pendent film  and  music,"  said  Portland, 
Oregon-based  Film  Baby  founder,  Jamie 
Chvotkin.  "If  we  are  able  to  allow  artists 
to  earn  a  living,  find  an  audience,  and 
further  the  idea  that  corporations  needn't 
have  a  place  in  the  production  of  film, 
we'll  have  reached  all  of  our  goals  as  a 
company" 

This  kind  of  attitude  is  a  godsend  for 
filmmakers  who  have  had  difficulties 
finding  distribution  for  their  low-budget, 
avant-garde,  or  hard-to-categorize  work. 
From  sci-fi  flicks  to  virtual  tours  of  for- 
eign lands,  Film  Baby  pretty  much  sells 
anything.  "We  don't  want  to  edit  any- 
one's expression  here,"  Chvotkin  said.  "It 


10    The  Independent  I   May  2005 


Jamie  Chvotkin  is  the  founder  of  the  Portland,  Oregon-based  Film  Baby 
(courtesy  of  Jamie  Chvotkin) 


isn't  for  us  to  decide  what  is  worth  watch- 
ing." The  exception  to  their  open  arms 
policy  is  pornography,  which  is  restricted 
from  the  site. 

Film  Baby  further  helps  filmmakers  by 
taking  on  the  task  of  creating  a  web  page 
for  every  DVD  title  it  sells.  The  page 
includes  a  two-minute  trailer  so  cus- 
tomers get  a  good  preview,  a  description 
of  the  film,  the  filmmaker's  bio,  customer 
reviews,  press  clippings,  and  links  to 
other  sites  that  are  connected  to  the  film. 
Most  films  retail  for  between  $14.99  and 
$19.99,  but  each  filmmaker  is  free  to 
determine  his  or  her  price,  with  Film 
Baby  keeping  $4  of  each  sale.  With 
online  access  to  their  accounts,  filmmak- 
ers can  keep  tabs  on  how  much  they're 
selling  and  who's  buying  their  work. 

As  good  as  the  site  is  to  artists,  Film 
Baby  was  created  for  fans.  The  site  is 
extremely  user-friendly  so  customers  can 
focus  on  finding  the  movies  they  want  to 
see,  with  about  20  new  titles  getting 
added  a  week.  Unlike  other  web  sites  sell- 
ing DVDs,  Film  Baby  only  carries  inde- 


pendent titles.  "The  philosophy  that 
brought  about  the  decision  to  shun  stu- 
dio releases  was  the  motivation  to  start 
the  business  in  the  first  place,"  Chvotkin 
said.  "The  less  restrictions  placed  on  art, 
the  more  it  will  flourish." 

The  variety  of  film  subjects  and  styles 
is  what  Chvotkin  believes  really  draws 
customers  to  Film  Baby.  "I  think  short 
films,  documentary,  and  instructional 
films  is  where  we  sell  the  most  right 
now,"  he  said.  In  fact,  one  of  Film  Baby's 
best  sellers  is  a  documentary  from  France 
called  Diabology,  which  is  about  juggling 
small,  plastic  cones.  Ari  Gold,  a  short- 
filmmaker  from  New  York,  is  also  a 
popular  draw. 

Chvotkin  promises  Film  Baby  will  fill 
the  void  in  the  indie  film  world  for  artists 
and  enthusiasts  alike.  "It  is  going  to  take 
a  while  to  build  traffic  to  the  site.  We  are 
not  funded  by  investors,  we  don't  have 
big  bucks  backing  us,"  Chvotkin  said.  "It 
is  just  me — I  have  sold  half  my  personal 
items  on  eBay  to  fund  this  site.  And  we 
would  not  have  it  any  other  way!"  -k 


NBPC 

National  Black 
Programming  Consortium 

Chisholm    '72: 

Unb ought   and 

Unbossed 

Brother  to  Brother 

A  Place  of  Our  Own 

FLAG  WARS 

This  Far  By  Faith 

A  Huey  P.    Newton 
Story 

r                                 \ 

FUNDING  FILMMAKERS 
SINCE  1979 

The  National  Black 

Programming  Consortium 

(NBPC)  is  devoted  to  the 

production,  distribution 

and  promotion  of  diverse 

film  and  videos  about 

African  Americans  and 

the  experiences  of  the 

African  Diaspora. 

V                                            J 

For  more  information       i 

about:                   I 

•Grants                  I 

•Workshops              ■ 

•Acquisitions 

•  Distributions 

visit  www.nbpc.tv 
or  write  to: 

NBPC 

|        68  East  131  st  Street 

7th  Floor 

New  York,  NY  10037 

212-234-8200 

info@nbpc.tv 

RFP  Applications  now 
available! 
1         Submission  Deadline 
June  3,  2005 

>>                                                   4 

May  2005  I  The  Independent     11 


UTILIZE  IT 


Tools  You  Can  Use 


Bv  David  Aim 


ikan's  LCD  Monitors 

This  new  line  of  LCD  monitors  from 
the  Houston-based  ikan  Corporation  are 
designed  for  both  amateur  and  profes- 
sional use,  and  priced  accordingly  from 
just  $89.95  for  a  2.5-inch  screen  to  $399 
for  the  largest,  which  measures  9  inches. 
All  five  in  the  series  feature  antiglare  TFT 
displays  with  wide  viewing  angles,  and 
they  are  all  small  enough  to  be  used  in 
virtually   any  environment.    With    both 


audio  and  visual  connections,  the  V2500 
oilers  the  greatest  versatility,  while  the 
higher-end  V7000  and  VT8000  provide 
such  amenities  as  wide-  and  touch-screen 
capabilities,  respectively.  All  monitors  are 
both  NTSC  and  PAL  compatible.  For 
details  visit  www.ikancorp.com. 


Gorilla  Films 

This  spring,  Gorilla  Films  shaved  off 
another  lump  on  the  film  industry  play- 
ing field  using  that  great  democratizing 
tool,  the  internet.  The  Hollywood-based 
firm's  new  web-based  networking  forum, 
at  www.strongeyecontact.com,  provides  a 
central  resource  for  the  filmmaking 
community  to  find  work  or  to  staff  a 
project,  thus  eliminating  the  middlemen 
who  stand  between  an  idea  and  its 
ultimate  realization.  The  company  hopes 
its  site  will  beat  the  "800-pound  gorilla" 
that  is  the  commercial  film  industry,  and 


ideally  make  obsolete  William  Faulkner's 
famous  observation  that  "Hollywood  is  a 
place  where  a  man  can  get  stabbed  in  the 
back  while  climbing  a  ladder." 

UCLA  Writers  Program 

Get  UCLA  training  for  your  own  writ- 
ing projects  from  anywhere  in  the  world. 
As  part  of  the  university's  online  exten- 
sion initiatives,  the  Writers  Program  at 
UCLA  currently  offers  more  than  50 
online  screenwriting  courses  per  year. 
Classes  are  taught  by  professional  novel- 
ists, screenwriters,  and  nonfiction  writers 
and  focus  on  such  skills  as  writing 
sitcoms,  adapting  narratives  to  the  digital 
environment,  and  even  how  to  build 
successful  relationships  in  Hollywood. 
Tuition  is  $495  per  course  and  time 
commitments  vary  between  10-15  hours 
per  week  over  a  5-12  week  period.  Learn 
more  at  www.uclaextension.edu 
/onlineStudy. 

Cameras  on  the  Fly 

Guerilla  photography  gets  a  21st  cen- 
tury makeover  this  spring  thanks  to  a 


C°NC0liD 
"500 


two-year  contract  between  the  Concord 
Camera  Corp.  and  Source  Interlink  to 
market  its  camera  in  retail  outlets  around 
the  country.  Concord's  lower-end  digital 
cameras  will  sell  for  around  $200  apiece 
at  the  checkout  counters  of  regional 
drugstores,  bridging  impulse  buying  with 
high-tech.  Future  contracts  will  be  deter- 


mined by  how  many  people  actually  want 
to  pick  up  a  digital  camera  along  with  the 
latest  Vanity  Fair  and  a  pack  of  chewing 
gum.  We're  watching.  In  the  meantime, 
visit  www.concord-camera.com  for  more 
information. 

Animation  in  China 

As  China  rapidly  gains  the  status  of 
global  superpower  in  the  new  millenni- 
um, the  country's  film  industry  is  keep- 
ing pace.  The  StarBoulevard  Animation 
Company,  located  in  the  southern  city  of 
Shenzhen — China's  animation  capital — 
is  a  member  of  the  China  Animation 
Association  and  provides  2D  and  3D 
design,  live-action,  broadcast  design, 
special  effects,  post-production,  and 
other  services.  Moreover,  Shenzhen  offers 
the  sole  training  program  for  animation 
in  all  of  South  China,  putting  the 
company  on  par  with  the  likes  of  Pixar 
and  LucasArts.  If  you  can  read  Cantonese, 
check  out  www.chinaimc.cn.  Otherwise, 
wait  until  China  westernizes  just  enough 
for  the  company  to  translate  its  site  into 
English — probably  not  long  off. 

Writers:  Get  Noticed,  With  a  Little 
Help  from  Your  Agents 

Writers  are  not  often  the  most  busi- 
ness-minded folk,  leaving  some  of  the 
finest  screenplays  forever  unread  in  the 
dustbin  of  film  history.  Hence  a  new 
packaging  service  from  Beverly  Hills 
Literary  Consultants,  a  former  literary 
agency  based  in  Los  Angeles  that  current- 
ly seeks  writers  who  need  help  cutting 
through  the  red  tape  of  the  Hollywood 
film  industry.  The  company  provides 
everything  from  editorial  advice  to 
custom-designed  budgets,  marketing 
strategies,  and  director/casting  sugges- 
tions. Visit  www.beverlyhillslit.com  for 
more  information,  -k 


12  The  Independent  I   May  2005 


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May  2005  I  The  Independent     13 


ASK  ft 


Fernanda  Rossi 


the  Documentary  Doctor 


Dear  Doc  Doctor: 

I  produced  my  film  independendy, 
and  I'm  also  trying  to  self-distribute, 
but  a  standard  marketing  budget  is 
beyond  what  I  can  afford.  Is  this  where 
my  independence  ends  and  my  contact 
with  a  major  distributor  begins? 

Independent  filmmaking  hasn't  hap- 
pened overnight  but  in  three  overlapping 
waves.  What  you  are  experiencing  is  the 
third  wave:  access  to  massive  marketing. 
Advances  in  film  technology  comprised 
the  first  wave  of  independence — filmmak- 
ers didn't  need  studios  to  realize  their 
dreamed  films.  Soon  after,  the  first  barrier 
emerged:  Where  can  you  show  your  film  if 
huge  media  conglomerates  own  the 
monopoly  on  all  major  screening  and 
broadcast  venues?  The  second  wave, 
democratization  of  venues,  overcame  that 
barrier.  We  saw  the  flourishing  of  cable, 
micro-cinemas,  the  internet  and  DVDs — 
all  cemented  by  the  continued  efforts  of 
pioneering  filmmakers  who  travel  across 
the  country  with  their  films  strapped  to 
the  hoods  of  their  cars. 

Now  that  you  can  make  a  documentary 
and  screen  it  too,  how  do  you  bring  peo- 
ple into  the  screening  room?  Can  your 
website  and  email  blast  compete  with  a 


full  ad  in  The  New  York  Time?.  Will  some- 
one choose  to  see  your  film  over  all  the 
other  options  available  through  media 
bombardment?  The  third  and  hopefully 
final  barrier  is  equal  access  to  marketing 
channels,  but  I  wouldn't  wait  for  another 
technology  miracle  to  give  every  film  a  lair 
chance  at  being  chosen. 

You  can  embark  on  healthy  independ- 
ent self-promotion  by  first  giving  up  your 
ego — not  the  ego  that  believes  in  your 
work  and  yourself  but  the  ego  hoping  for 
an  interview  on  "Oprah"  or  a  full-sized 
poster  in  the  subway  station  (options  not 
too  often  available  to  documentary  film- 
makers to  begin  with).  Take  the  words 
from  that  Oscar  speech  you've  been  prac- 
ticing and  use  them  to  address  your  film's 
more  urgent  audience. 

By  more  urgent  audience  I  mean  the 
sub-group  of  people  within  your  larger 
target  audience  that  would  immediately 
watch  your  film  over  any  Blockbuster 
film,  or  even  over  the  Super  Bowl.  Let's  say 
your  film  is  about  autism.  Your  target 
audience  are  health  workers  and  parents  of 
autistic  children.  Who  is  your  urgent  audi- 
ence? Parents  who  just  found  out  their 
children  are  autistic  or  maybe  someone 
who  runs  an  independent  newsletter  on 
autism.  Your  urgent  audience  is  made  up 


of  those  who  are  out  there  just  waiting  and 
hoping  that  your  film  existed,  and  they  are 
your  best  allies.  Your  film  is  their  priority, 
too,  and  they  will  do  with  you  and  for  you 
whatever  it  takes  to  get  it  viewed  by  as 
many  people  as  possible. 

By  no  means  is  this  a  new  strategy,  but 
it's  a  strategy  worth  revisiting.  Remember 
that  while  massive  marketing  media  might 
be  in  the  hands  of  the  big  players,  the  mes- 
sage and  the  messengers  (you)  still  matter. 

Dear  Doc  Doctor: 

After  a  lengthy  detour,  I'm  coming 
back  to  filmmaking.  Apart  from  having 
to  learn  new  technology,  I'm  finding 
that  crew  relationships  are  a  real  chal- 
lenge. I've  realized  that  I  no  longer 
know  what  I'm  supposed  to  do  and  how 
much  I  should  expect  from  my  team. 

Your  question  is  a  dilemma  that  often 
goes  unnoticed  and  if  recognized,  blamed 
almost  entirely  on  personality  conflicts, 
when  in  reality  it's  often  about  a  paradigm 
shift.  It  used  to  be  that  someone  could 
move  up  in  the  film  production  world  by 
being  the  diligent  assistant  to  those  already 
in  the  aspired-toward  position.  Years  of 
faithful  dedication  granted  access  to 
impossible-to-own    equipment,    people 


14    The  Independent  I   May  2005 


with  knowledge,  and  most  importantly, 
endless  hours  of  witnessing  director-crew 
protocol  and  etiquette.  It  was  a  legacy 
passed  horn  film  generation  to  film  gener- 
ation, safely  guarded  by  the  unions  and 
guilds  that  not  only  established  standards 
but  also  enforced  them. 

You  probably  don't  look  back  to  those 
days  of  pyramidal  hierarchy  with  any 
nostalgia,  since  if  today  you  aspire  to  be, 
say,  a  cameraperson,  you  can  buy  a  cam- 
era, read  the  manual,  take  a  weekend 
course,  and  become  a  cameraperson  right 
away.  No  waiting  period,  no  assisting 
anybody,  no  nothing.  No  chance  to  learn 
the  subtleties  of  interpersonal  crew  rela- 
tionships either. 

So  as  new  generations  of  filmmakers 
learn  their  trade  on  the  spot — unsuper- 
vised and  un-coached — those  with  experi- 
ence in  customer  service  might  actually 
fare  better  than  the  technology  geeks.  But 
don't  leave  it  to  chance.  Just  because  you 
are  independent  doesn't  mean  you  can't 
use  the  standards  of  the  establishment. 

Assume  nothing,  and  put  it  all  in  writ- 
ing. You  can  use  the  unions'  and  guilds' 
job  description,  guidelines,  and  sample 
contracts  as  a  starting  point.  Talk  through 
each  point  and  include  as  many  "what  if" 
scenarios  as  possible.  Give  yourself  "re- 
negotiation points"  and  "exit  points"  along 
the  process  to  update  the  relationship. 

And  in  your  case,  you  can  check  in 
with  old  buddies  and  see  what's  accept- 
able today.  Were  you  a  complete  new- 
comer, I  would  suggest  you  use  a  mentor 
or  someone  else  you  trust  as  a  sounding 
board  for  navigating  exceptional  scenar- 
ios. Because  both  then  and  now,  people 
are  people,  and  unexpected  situations  are 
bound  to  happen,  "k 

Fernanda  Rossi  is  a  filmmaker  and  story 
consultant.  She  is  also  the  author  <?/Trailer 
Mechanics:  A  Guide  to  Making  your 
Documentary  Fundraising  Trailer.  For 
info,  visit  www.documentarydoctor.com. 

Want  to  ask  the  Doc  Doctor  a  question  for 
a  future  issue  o/The  Independent  ?  Write  to 
her  at  info@documentarydoctor.com. 


THEEDITCENTER 

Learn  the  art  of  film  editing  while  working  on  an  actual  feature  film. 


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www.theeditcenter.com 

A  Authorized  Training  Center 


NO  OTHER  PLACE  IN  THE  WORLD 
OFFERS  A  SUMMER  LIKE  THIS. 


The  Summer  Intensive  Program  in  the  Arts  at  The  New  School 


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INDEPENDENT  FILM 
June  6  -  24,  2005 

During  this  intensive  program,  students  explore  independent  filmmaking  in  the 
world's  most  active  Indie  city.  In  the  morning  seminar,  The  Art  and  Industry  of 
American  Independent  Cinema,  a  leading  filmmaker  and  scholar  of  the  cinema 
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session  is  a  hands-on  introduction  to  producing  and  directing  that  emphasizes 
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Only  in  New  York.  Only  at  The  New  School. 


May  2005  I  The  Independent     15 


FIRST  PERSON 


Secrets 
and 


LIES 


A  Miramax  script  developer  busts  some  industry  myth-conceptions 


By  Maureen  A.  Nolan 

You  have  become  the  thing  that  you 
have  mocked.  That's  a  paraphrase 
of  a  famous  Shakespeare  line,  and 
it's  also  a  line  that  often  popped  into  my 
head  after  I  became  a  script  and  story  ana- 
lyst. By  choosing  to  work  on  the  develop- 
ment side  of  film,  I  had  allied  myself  with 
the  "thing"  most  screenwriters  mock:  the 
dreaded  development  executive. 

"How  did  this  happen  to  me?"  I  rou- 
tinely asked  myself.  Like  most  grads  of 
art  school  dramatic  writing  programs,  I 
had  bought  into  the  belief  that  Dante  got 
it  wrong:  He  should  have  reserved  the 
ninth,  deepest,  darkest,  skankiest  circle  of 
hell  for  American  film  execs.  I  had  fond 
memories  of  sitting  in  grubby  classrooms 
listening  to  student  writers  rage  against 
the  day  when  their  preciously  pure  work 
would  be  wrestled  from  their  hands  by 
the  evil  Hollywood  dream  machine  and 
turned  into  commercial  product  to  numb 
the  minds  of  America.  Once  or  twice,  I 
remember  muttering,  "You  should  only 
be  so  lucky."  But  I  knew  that  my  class- 
mates' imaginary  pain  was  very  real  to 
them,  and  so  was  the  complicated  ques- 


tion of  what  they  would,  should,  or  could 
do  if  asked  to  choose  between  their 
artistic  integrity  and  a  shot  at  commercial 
success. 

In  school,  we  were  often  told  that  only 
a  small  percentage  of  the  writers  in  our 
class  would  achieve  working  careers  in 
the  entertainment  industry.  We  were 
willing  to  take  this  as  truth.  After  all,  we 
knew  there  were  many  more  aspiring 
writers  than  shows  or  films  produced. 
The  numbers  clearly  meant  that  most  of 
us  wouldn't  make  it  to  career  success,  but 
some  of  the  faculty  found  a  clever  way  to 
protect  us  from  the  prospect  of  future 
failure.  We  were  encouraged  to  redefine 
"success"  as  self-expression  and  to  define 
screenwriters  as  artists  using  the  medium 
of  script  solely  for  their  own  emotional 
satisfaction. 

One  particular  senior  teacher  was 
known  to  tell  us  tales  of  his  disastrous 
Hollywood  experience.  As  a  screenwriter 
in  the  60s  and  70s,  he  wrote  one  notable 
film  he  considered  worthy  of  him,  artisti- 
cally and  politically — and  then  went  on 
to    turn    down    any   writing   project   he 


regarded  as  too  "commercial"  or  too 
empty  of  artistic  value.  He  stuck  to  his 
principles,  and  we  admired  him  for  it, 
but  when  he  divided  his  total  screenwrit- 
ing  income  by  his  number  of  working 
years,  his  average  annual  salary  equaled 
what  a  middle-class  college  film  professor 
would  have  earned. .  .without  the  anguish 
and  angst  of  dealing  with  life  in  Los 
Angeles.  And  so,  a  little  embittered  and  a 
lot  cynical,  he  told  us  to  write  for  our- 
selves and  not  bother  dreaming  of  an 
industry  career. 

For  his  students,  it  was  never  a  secret 
that  we  didn't  buy  his  image  of  the  purist 
artist,  scribbling  pages  of  perfect  script  to 
be  locked  away  in  desks  or  drawers  and 
read,  furtively,  in  the  depths  of  night  for 
the  writer's  private  gratification.  But  we 
did  learn  to  act  blase  about  the  concept  of 
commercial  success.  And  probably  it  was 
a  lie  that  we  didn't  all  yearn  to  see  our 
names  featured  in  screen  credits  or  at  least 
on  big,  fat  paychecks  that  would  allow  us 
to  live — and  write — comfortably. 

There  are  writers  who  actually  care 
about  the  perils  of  "selling  out,"  but  for 


16  The  Independent  I  May  2005 


others,  like  my  classmates,  the  queasy  con- 
flict between  art  and  money  serves  as  a 
neat  defense  against  fear  of  failure.  If  your 
work  doesn't  sell  you  can  always  tell  your- 
self it  isn't  because  you  weren't 
talented  or  skilled  enough — it  was  really 
because  you  were  too  high-principled  to 
compromise  your  integrity.  By  fostering 
the  concept  of  screenwriter  as  self- 
satisfied  artist,  writing  programs — at  least 
those  that  don't  promote  their  students 
professionally — provide  their  writers  with 
an  emotional  bailout  for  flopped  careers. 
And  also  justify  their  own  existence. 

This  ploy — if  we  can  call  it  that — is 
supported  by  a  continuing  confusion  in 
American  cultural  values.  We're  taught  to 
believe  we  can  have  it  all — money,  fame, 
success — and  we're  encouraged  to  think 
that  we  should.  But  we're  also  cautioned 
that  money  and  the  greed  for  it  are  the 
sources  of  all  things  evil  in  society.  Popular 
film  culture  plays  into  this  confusion  with 
its  own  form  of  paradoxical  positioning  on 
the  subject  of  values.  So  a  film  that  may 
have  cost  millions  to  produce  and  may 
aim  for  millions  in  profits,  might  easily 
feature  characters  learning  the  lessons  that 
love  of  money  and  success  is  shallow  and 
inauthentic,  especially  compared  with 
deeper,  more  humanistic  values  found  in 
friendship,  romantic  love,  self-sacrifice, 
and  integrity.  It's  not  surprising  that 
screenwriters  may  end  up  puzzled  and 
unclear  about  their  own  attitudes  towards 
success  and  money,  and  what  it  may  take, 
and  cost,  to  achieve  them. 

As  an  analyst  and  consultant,  I've 
come  to  believe  that  it's  useful  for  writers 
to  grapple  with  these  issues,  because  they 
may  lead  to  potent  creative  questions 
about  why  a  particular  writer  is  driven  to 
tell  a  particular  story.  For  a  writer,  under- 
standing creative  motivation  and  asking 
why  a  story  should  be  told  and  what  is 
the  true  purpose  of  the  telling,  helps  the 
writer  gain  control  over  the  material  and 
the  storytelling  process.  The  more  a 
writer  knows  about  the  "what"  and  "why" 
of  a  story,  the  easier  it  is  to  craft  plot, 
structure,  and  character  so  the  script 
accomplishes  exactly  what  the  writer 
intends  it  to  do. 


The  debate  over  "money  versus  mean- 
ing," if  it  brings  insight  to  the  writer,  can 
become  a  powerful  creative  tool.  But  the 
debate  becomes  problematic  when  it 
inspires  a  number  of  lies,  or  myth-con- 
ceptions— including  the  big  lie  that  the 
relationship  between  screenwriter  and 
development  executive  is  a  spin  on  the 
battle  between  good  and  evil,  with  the 
writer  as  a  virtuous  David  squaring  off 
against  the  Hollywood  Goliath  to  defend 
the  meaning  and  value  of  story  from  crass 
commercial  concerns. 

Early  in  my  career,  I  began  to  learn 
some  startling  secrets  about  story  devel- 
opment and  the  people  who  choose  to 
work  in  the  field.  And  most  of  those 
secrets  turned  on  the  exploding  of  several 
myth-conceptions.  All  development  exec- 
utives are  stupid:  This  is  a  standard 
screenwriter  belief,  but  there's  no  truth  to 
it.  It  may  be  accurate  to  say  that  develop- 
ment people,  like  people  in  any  profes- 
sion, function  at  different  levels  of  talent, 
skill,  and  experience.  But  the  reality  is 
that  many  development  execs  have  a 
highly  developed  sense  of  story  and  a 
knack  for  figuring  out  how  to  maximize  a 
particular  story's  potential.  In  part,  their 
expertise  comes  from  evaluating  scores  of 
scripts,  but  it  also  comes  from  having  to 
talk  about  story  issues  and  elements  con- 
stantly. The  result  may  well  be  that  cer- 
tain producers  and  development  people 
are  more  sophisticated  on  the  subject  of 
story — its  form,  function,  meaning,  and 
value — than  many  screenwriters  can 
claim  to  be. 

As  artists,  writers  hardly  compromise 
their  artistic  integrity  by  collaborating 
with  story  experts  who  are  smart  and 
sophisticated  about  the  writers'  chosen 
art  form.  Which  leads  to  another  myth- 
conception:  Even  the  smartest  develop- 
ment people  don't  actually  care  about  their 
stories — they  care  only  about  the  prospect 
of  distribution  deals  or  big  box  office 
receipts.  I  can  recall  being  taken  to  task 
by  one  development  exec  for  a  piece  of 
book  coverage.  Apparently,  I  had  left  out 
the  crucial  "truth"  that  the  main  charac- 
ter's life,  she  said,  was  "miserable,  miser- 
able,   miserable" — and    nobody   would 


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May  2005  I  The  Independent   17 


May  12-23,  2°°5 

new  york  city  +  Washington,  d.c. 

Screenings  and  discussions  with  the  filmmakers  at 
MoMAand  NMAI 

and  other  venues  in  Washington  D.C. 

FIRST  NATIONS\FIRST  FEATURES  presents  25  groundbreaking  feature  films  by 
indigenous  directors  from  around  the  world.  Three  institutions — the  Museum  of 
Modern  Art  (MoMA),  the  Smithsonian's  National  Museum  of  the  American  Indian 
(NMAI),  and  New  York  University — have  collaborated  on  this  showcase.  For  the 
past  two  decades,  Indigenous  filmmakers  have  broken  barriers  to  Native  film  pro- 
duction, receiving  accolades  from  both  Native  and  general  audiences  and  winning 
prestigous  recognition  on  the  world  stage.  The  showcase  represents  media  produc- 
tion among  a  host  of  First  Nations  communities,  including  Indigenous  Australian, 
Inuit,  Maori,  Native  North  and  South  American,  Nenet,  Rotuman  and  Sami. 

Symposium  with  the  directors  and  guest  moderators 
Paul  Chaat-Smith  and  Jolene  Rickard 

Cultural  Creativity  and  Cultural  Rights:  On  and  Off  Screen 

Thursday,  May  12  |  NMAI  in  NYC 
1  p.m.  to  4  p.m. 

For  a  schedule  of  screenings,  ticketing  information  and 

directions  for  both  cities  go  to 

www.firstnationsfirstfeatures.org  or  call  (212)  514.3737 


ever  want  to  see  it  on  screen.  I  didn't 
know  whether  to  be  amused  or  impressed 
by  her  passionate  response  to  the  charac- 
ter and  his  circumstances,  but  it  was 
obvious  that  her  imagination  had  entered 
the  world  of  the  story  so  completely  that 
it  was  extremely  real  to  her. 

In  teaching  screenwriters,  I  use  this 
incident  to  suggest  a  note  of  hope:  you 
will  meet  development  execs  and  produc- 
ers who  care  about  your  stories  and  char- 
acters as  deeply  as  you  do.  What  they 
may  not  care  about  is  your  creative  ego, 
your  personal  issues  about  "values,"  or 
your  need  for  self-expression.  They  may 
wholeheartedly  believe  that  the  tradition- 
al three-act  structure  or  the  "hero's  jour- 
ney" pattern  provide  the  best  framework 
for  crafting  screen  stories  that  speak  to  an 
audience.  And  they  may  not  care  if  you 
disagree.  What's  more,  they  may  also 
believe  that  the  true  measure  of  a  story's 
worth  and  meaning  is  the  size  of  its 
audience — and  that  this  naturally  trans- 
lates into  dollars. 

Finally,  there  are  some  secrets,  lies,  and 
myth-conceptions  that  development  peo- 
ple may  have  uncovered  for  their  own  pur- 
poses. Writers  are  never  lazy.  This  is  a  lie. 
They  often  are,  and  lackluster  scripts  often 
show  a  lack  of  real  effort  and  imagination. 
Writers  out  for  commercial  success  fare  better 
than  writers  dedicated  to  their  artistic 
integrity.  They  don't,  because  their  so- 
called  commercial  scripts  are  usually  too 
derivative  and  dull  to  deserve  attention. 

And  the  biggest  myth-busting  secret 
truth  of  all?  Stories  have  their  own  lives, 
separate  from  their  creators.  Believe  it.  If 
both  writers  and  development  people  are 
aware  of  this,  they  can  work  in  what  I  like 
to  call  "service  of  story."  By  serving  the 
story,  both  sides  may  discover  that  there 
are  times  when  integrity  and  success  can 
go  together.  And  when  they  do,  great  and 
memorable  screen  stories  are  born.    ~~k 


18  The  Independent  I   May  2005 


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By  Rebecca  Carroll 

Sometimes  my  friend  Laura 
Donovan  will  call  me  out  of  the 
blue  and  just  say  these  two  words: 
"Macaw!  Macaw!"  Circa  1997,  Laura  told 
me  about  a  small  "independent"  film 
called  Bottle  Rocket  (An  "independent" 
film?  Fascinating.  Do  go  on.)  The  film 
(which  gained  recognition  almost  entirely 
by  word  of  mouth  after  its  Columbia 
Pictures  release  in  1996),  directed  by  a 
then  lesser-known  Wes  Anderson,  and 
written  by  Anderson  with  his  friend,  a  per- 
haps even  lesser-known  Owen  Wilson,  is  a 
pre-Napoleon  Dynamite,  and-by-geeky-I- 
mean-hip,  somewhat  dark,  Holden 
Caulfield-esque  comedic  caper.  It  stars 
Owen  as  Dignan,  along  with  his  younger 
brother,  Luke  as  Anthony,  and  in  a  small- 
er role,  their  older  brother,  Andrew  as 
John  Mapplethorpe  (Future  Man). 

Bottle  Rocket  was,  for  my  generation,  an 


introduction  of  sorts  to  independent  film- 
making as  we  know  it  today  (or  the  best  of 
it  anyway) — the  story  and  writing  were 
clever,  original,  and  smart  and  made  you 
feel  like  an  insider  lor  getting  it.  And  even 
better  than  independent  filmmaking  as  we 
know  it  today,  it  wasn't  just  about  watch- 
ing white  people.  I  mean,  sure,  the  bulk  of 
the  cast  was  white,  but  at  the  center  of  the 
film  is  a  love  story  between  Anthony  and  a 
beautiful  Mexican  maid  (here  I  urge  you 
to  put  images  of  Maid  in  Manhattan  out 
of  your  mind)  named  Inez  (Lumi 
Cavazos) — not  because  she's  exotic  and 
different  and  poor  and  needs  saving,  but 
because  that's  just  whom  Anthony  falls  in 
love  with. 

In  the  nearly  10  years  since,  the  native 
Texan  Wilson  brothers  have  worked 
together  on  various  film  projects,  but  none 
that  they  can  call  their  own.  The  Wendell 


Baker  Story,  which  opened  Austin's  SXSW 
Film  Festival  in  March,  is  written  by  Luke, 
co-directed  by  Luke  and  Andrew,  and  stars 
Luke  and  Owen.  I  was  at  the  film's  pre- 
miere and  I'm  happy  to  say  that,  in  the 
best  ways,  Wendell  Baker  shares  quite  a  bit 
of  overlap  with  Bottle  Rocket.  Following 
the  premiere  I  had  a  chance  to  sit  down 
and  talk  with  Luke  about  the  making  of 
the  film. 

Rebecca  Carroll:  I  happened  to  be 
sitting  right  behind  you  last  night  at 
the  premiere,  and  it  just  occurred  to 
me  how  wild  it  must  be  and  how  dif- 
ferent to  see  a  film  that  you  have 
made  and  that  is  so  personal  to  you. 

Luke  Wilson:  Yeah,  well  you  could 
probably  smell  me.  I  was  pretty  wet  with 
perspiration. 


May  2005  I  The  Independent     19 


Luke  and  Owen  Wilson  in  the  Wes  Anderson-directed  Bottle  Rocket  (Columbia  Pictures) 


RC:  But  how  different  that  must  be 
from  going  to  a  premiere  of,  say, 
Charlie's  Angels! 

LW:  Yeah,  it's  not,  "Hey,  great  hotel! 
I'm  at  the  premiere!"  It's  much  more 
like,  "Okay,  let's  see  what  happens."  My 
brother  Owen  was  making  fun  of  me 
saying:  "Finally  the  iceman  shows  some 
emotion — gosh,  you  weren't  like  this  at 
the  Legally  Blonde  2  premiere,  were 
you?" 

RC:  And  why  is  that? 

LW:  For  me,  it's  mainly  the  writing  of 
it.  It's  not  so  much  that  we  directed  it, 
but  just  for  me  it's  the  feeling  of  having 
written  it,  and  knowing  that  any  line 
that  somebody  doesn't  like  they  can 
attribute  to  me. 

RC:  Yeah,  that's  sort  of  what  writ- 
ing is  all  about. 

LW:  So  I  just  started  fixating  on  that 
in  the  last  couple  of  days. 

RC:  Less  so  than  your  own  per- 
formance in  the  film? 

LW:  Yeah,  definitely.  I'm  thinking 
more  about  each  character  and  what 
they're  saying  and  how  it  flows  and 
whether  people  connect  with  it. 

RC:  So  you're  pretty  OK  with 
watching  yourself  on  film? 


LW:  I  mean  there  are  certain  perform- 
ances I  like  more  than  others  of  course, 
but  I  actually  like  the  character  of 
Wendell.  So  I  kind  of  have  fun  watching 
him,  to  tell  you  the  truth. 

RC:  One  of  my  all-time  favorite 
movies,  I  kid  you  not,  is  Bottle 
Rocket — I've  seen  it  many  times  and 
have  turned  a  lot  of  people  on  to  it.  Is 
this  the  first  time  you  have  all  worked 
together  on  a  feature  since  Bottle 
Rocket! 

LW:  We  were  all  in  The  Royal 
Tenenbaums,  and  then  Owen  wrote 
Rushmore  with  Wes  Anderson,  and  we 
all  had  small  parts  in  that  too.  So  we've 
done  films  where  we've  all  been  on  the 
same  set  since  Bottle  Rocket,  but  this  is 
definitely  the  biggest  collaboration  since 
then  and  definitely  the  biggest  of  all,  in 
terms  of  just  us  three  guys. 

RC:  I  felt  sort  of  nostalgic  for  Bottle 
Rocket  while  I  was  watching  The 
Wendell  Baker  Story  just  because  it  has 
that  same  quirky,  good-home,  bizarre 
sort  of  feeling.  I  also  happen  to 
notice — and  I  don't  know  if  other  peo- 
ple do — but  there  are  people  of  color  in 
both,  fairly  prominendy.  Often,  with 
independent  films  and  the  independent 
film  world,  you  almost  never  see  people 
of  color.  Were  you  conscious  of  that 


when  you  were  writing  Wendell! 

LW:  I  just  thought  about  it  in  terms 
of  the  story  being  about  people  coming 
across  the  border  from  Mexico — that 
was  the  thing.  But  the  character  of 
Doreen  wasn't  supposed  to  be  Latina,  it 
just  ended  up  working  out  with  the 
actress  Eva  Mendes.  I  guess  maybe  dif- 
ferences between  people  can  make  for 
humor  or  the  opportunity  to  learn 
about  each  other. 

RC:  What's  with  the  prison 
theme — in  both  Wendell  Baker  and 
Bottle  Rockeii  And  the  jumpsuits?  Did 
you  guys  wear  jumpsuits  when  you 
were  kids? 

LW:  (Laughs)  Are  there  any  jumpsuits 
in  this? 

RC:  Of  course  there  are.  I  mean — 
the  white  orderly  uniforms. 

LW:  We  all  grew  up  wearing  uni- 
forms, so  maybe  that's  it.  We  went  to 
this  school  in  Dallas  where  you  had  to 
wear  gray  slacks  and  a  white  shirt.  One 
of  my  favorite  stories  is  about  when 
Owen  was  at  UT,  he  ran  into  this  kid 
[we  went  to  school  with],  and  the  guy 
had  just  kept  wearing  his  uniform  from 
the  school,  but  un-tucked.  He  just  kept 
wearing  the  pants  and  the  short  sleeved 
white  shirt,  just  walking  across  the  UT 
campus.  Which  I  kind  of  like — you 
know,  the  idea  of  wearing  uniforms 
every  day.  But  I  don't  know  about  the 
prison  theme. 

RC:  Capers? 

LW:  Yeah,  capers.  I  don't  know — 
maybe  it's  just  more  fun  to  write  stuff  like 
that,  or  I  guess  probably  easier  than  try- 
ing to  write  something  like  Schindler's 
List. 

RC:  Wendell  Baker  is  definitely  a 
feel-good  story. 

LW:  Some  little  old  woman  asked  me 
today,  "So  Wendell  goes  to  prison,  and 
he  seems  to  have  a  good  time."  And  it's 
like,  obviously,  it's  not  real.  You  know,  if 
I  were  to  get  sent  to  prison  I'd  have  a 
number  of  things  I'd  be  worried  about. 


20    The  Independent  I   May  2005 


Owen  Wilson  and  Eddie  Griffin  in  The  Wendell  Baker  Story  (Laura  Wilson/MHF  Zweite  Academy  Film  GmbH  &  Co.) 


I 
■ 


But  this  guy  Wendells  stoty  is  more  like 
a  fable  or  a  joke. 

RC:  It's  fiction. 

LW:  Yeah,  it's  fiction.  It's  like  a  guy 
going  to  college — jumps  into  it,  has  a 
great  time,  plays  sports,  meets  nice  people. 

RC:  I  think  that  we're  at  a  weird  time 
with  movies  insofar  as  what's  fiction 
and  what's  not,  especially  since  docu- 
mentaries are  on  the  rise,  and  a  lot  of 
narrative  films  are  taking  on  the  task  of 
conveying  reality  perhaps  in  an  effort 
to  compete.  A  film  critic  and  co-pan- 
elist with  me  on  a  press  panel  here  said 
to  me  that  he  was  really  concerned  that 
your  film  advocated  stalking — and  I 
know  he  was  at  your  press  conference. 
Did  he  say  anything  about  that? 

LW:  I  think  if  that  guy  wants  to  see  a 
movie  about  stalking,  he  should  watch 
Star  80.  But  yes,  he  said  he  was  offended, 
very  offended  by  the  stalking.  I  didn't 
notice  the  stalking.  I  thought  that's  what 
you  do  when  you're  in  love — you  know, 
you  kinda  follow  a  girl  for  a  while. .  .In 
the  beginning,  doesn't  it  always  start  as 
stalking? 

RC:  More  importantly,  it's  a  work 
of  fiction.  It's  an  imagined  story.  But 
did  you  feel  personally  attacked  or 
offended  by  his  concern? 


LW:  It  was  just  such  a  lame-ass 
question.  I  just  didn't  get  it.  And  he 
couldn't  have  been  more  wrong.  On  his 
last  try  with  Doreen,  Wendell  says,  "She 
listened  to  what  I  had  to  say,  and  you 
know,  I  was  lucky  enough  to  have  even 
met  her."  I  mean,  sure,  he  follows  her 
around  the  grocery  store,  but  I  mean... 

RC:  Again,  I  would  say  that  we're  at 
a  difficult  point  particularly  with  inde- 
pendent film,  as  it  sort  of  gains  on  the 
cusp  of  mainstream,  in  understanding 
what  exactly  is  the  responsibility  of 
writing  for  film.  How  about  just  a 
good,  old-fashioned  story? 

LW:  I  don't  think  there  is  any  responsi- 
bility. I  don't  think  you  need  to  have  any, 
I  mean.  I  think  it's  like  a  song. 

RC:  To  be  put  out  in  the  world. 

LW:  Yeah,  you  know,  it's  just  different 
characters.  That's  like  saying  that  it's  dan- 
gerous to  have  the  character  in  The 
Woodsman,  you  know,  a  pedophile,  exist 
in  a  movie.  But  I  think  it  does  a  service 
just  to  show  things  like  that — to  get 
people  thinking. 

RC:  So  you  do  think  it  does  a  service? 

LW:  Yeah,  I  do. 

RC:  And  what  about  on  the  other 
side — with  a  film  like  Schindler's  List 


or  Hotel  Rwanda.  Do  those  films  have 
a  responsibility? 

LW:  I'd  say  they  have  a  responsibility  to 
get  the  story  right. 

RC:  And  how  can  you  though? 

LW:  What  you're  saying  is  an  interest- 
ing idea,  but  with  something  like 
Wendell  Baker,  I  mean,  he's  a  guy  who 
wears  a  seersucker  suit. 

RC:  And  looks  really  good  in  it. 

LW:  Thanks. 

RC:  Are  you  going  to  write  and  direct 
some  more? 

LW:  My  brothers  and  I  are  going  to  try  to 
do  this  thing  together. 

RC:  Like  a  company? 

LW:  I  don't  know  about  setting  up  a  com- 
pany. Those  always  seem  to  end  up  with 
empty  offices. 

RC:  You'll  pay  for  the  films  yourself? 

LW:  No,  we  won't.  We'll  find  somebody 
else  to  pay  for  them.  That'd  be  great 
though,  too — do  a  Passion  of  the  Christ, 
roll  of  the  dice. 

RC:  I  don't  know  if  we  need  another 
one  of  those. 

LW:   I  just  like  the  idea  of  cutting  out 
the  middleman. ~k 


May  2005  I  The  Independent  21 


FESTIVAL  CIRCUIT 

White: 

A  Film 

Series 

How  does 
American  cinema 
address 
whiteness  as  a 
racial  category? 

By  Nicholas  Boston 

On       a       blistering       cold 
President's    Day   weekend 
this  past  February,  "White: 
A  Film  Series"  showed  a  modest      Todd  Haynes's  2002  film  Far  From  Heaven,  in  which  a  housewife  begins  an  affair  with  her  black 

■  c  ei  tl      M  gardener,  was  inspired  by  Imitation  of  Life  (Focus  Features) 

selection    or    turns    at    1  he    New       a  r  ' 

School  in  New  York,  and  tried  to 

live  up  to  its  title  for  an  audience  of  about 

600  moviegoers.  The  festival  sought  to 

give  an  account  of  how  American  cinema  needed  to  stick  to  a  few  areas  of  consid-  al  Oscars,  was  one  of  the  offerings  at  the 

has  addressed  whiteness  as  a  racial  cate-  eration,  given  the  two  limitations  of  the  "White"  festival.  In  fact,  most  of  the  fes- 

gory  over  the  past  50  years.  It  was  the  film  series:  that  it  not  exceed  seven  films  aval's  lineup  was  likely  to  be  familiar  to 

first  festival  to  venture  such  a  project.  and  that  it  [be]  as  accessible  as  possible  to  the  average  moviegoer  (no  obscure  art- 

"We  were  intrigued  by  a  completely  a  general  audience."  house  titles  here).  Indeed,  the  familiarity 

fresh  take  on  an  issue  that  has  been  with           It's    no    secret    that    the    film    festival  between  content  and  viewer  was  the  fes- 

us  for  a  long  time,"  said  Carin  Kuoni,  movement  in  this  and  other  countries  has  tival's    main    strength.    Audiences    were 

director  of  the  Vera  List  Center  for  Art  played  a  significant  role  in  exposing  audi-  asked  to  digest  a  package  of  cinematic 

and    Politics    at    The    New    School,    a  ences    to    independent    and    low-budget  representations   with    "whiteness"    as    its 

co-sponsor  of  the  event.  The  festival  was  films.    But  festivals  have  also  satisfied  an  nomenclature.  As  an  exercise  in  viewing, 

also   affiliated   with    the   art   exhibition,  important  political  function  in  providing  that's  a  far  cry  from  watching  a  film  in 

"White:      Whiteness      and      Race      in  public  forums  where  controversial  topics  isolation  and  interpreting  its  themes  any 

Contemporary      Art,"      launched      in  can  be  openly  named  and  debated.  Gay  which  way  they  might  come  to  you.    As 

December  2004  at  New  York's  Intern-  and  lesbian  culture,  for  example,  started  Berger  pointed  out,   "The  film   festival 

ational  Center  of  Photography.  Both  art  going  mainstream  at  roughly  the  same  was    introducing   an    idea    never   before 

show  and  film  series  were  organized  by  time  (the  late  1990s)  that  queer  film  fes-  explored  in  a  film  series.  It  was  designed 

Maurice    Berger,    a    cultural    critic    and  tivals  began  cropping  up.    Prior  to  that,  to  help  foreground  an  idea  that  still  has 

author  of  the    1999   book,    White  Lies:  films  like  Todd  Haynes's  2002  film  Far  little  currency  in  the  popular  press  and 

Race  and  the  Myths  of  Whiteness.  From  Heaven,  starring  Julianne  Moore  as  culture." 

"I  was  interested  in  films  that  depicted  a  1950s  housewife  whose  conflicted  mar-  Could  public  awareness  for  the  power 

the  clearest  possible  images  of  whiteness,  riage  to  a  closeted  gay  man  opens  the  of  "whiteness"  be  the  next  social  mission 

especially  with  regard  to  issues  like  white  door    to    an    affair    with    her    African  taken  up  by  the  film  festival  circuit? 

power,    privilege,    and    racism,"    Berger  American    gardener,    were    not    exactly  The  festival's  roster  was  book-ended  by 

said.     "I  wanted  the  films  to  represent  standard  headlining  fare.  Douglas      Sirk's       1959      melodrama, 

attitudes  over  the  past  five  decades.  And  I           Far  From  Heaven,  nominated  for  sever-  Imitation    of    Life — about     a     biracial 

22  The  Independent  I  May  2005 


woman  who  turns  her  back  on  her  black 
mother  and  attempts  to  pass  for  white — 
and  Far  From  Heaven,  itself  inspired  by 
Sirk.  In  between  were  screenings  of  To 
Kill  A  Mockingbird,  the  1962  adaptation 


of  which  the  individual,  if  he  or  she  man- 
ages to  be  good  enough,  can  step.  Here, 
whiteness  is  a  moral  sin,  not  an  institu- 
tional ailment.  Peck  is  handsome,  sophis- 
ticated,   and   enlightened — a   man   who 


of  Harper  Lee's  seminal  novel  of  the  same      does   the  right   thing.    Never   mind   the 
name;  Watermelon  Man  (1970),  by  blax-       brutish  segregationists  and  violent  racists 
ploitation  maverick  Melvin  Van  Peebles,       in  the  film — they're  just  backdrop, 
about  a  virulently  racist  white  man  who  In  White  Dog,  whiteness  bears  its  big, 

wakes  up  one  day  to  discover  that  he  has  white  teeth — all  the  better  to  eat  us  with, 
"turned"  black;  White  Dog  (1982),  a  The  film  features  80s  teen  starlet  Kristy 
hard-hitting,  meeting-of-wills  drama  that  McNichol,  and  the  late  stage-trained 
pits  an  African  American  dog  trainer  screen  actor  Paul  Winfield,  who  plays  the 
against  a  vicious,  white  canine  trained  to  determined  trainer  out  to  deprogram  his 
attack  and  kill  black  people;  Hairspray  canine  charge.  It  is  a  powerful  and  alarm- 
(1988),  director  John  Waters's  musical  ing  film,  one  that  could  easily  do  double 
comedy  about  an  overweight  teenage  duty  at  a  film  festival  organized  around 
girl's  determination  to  desegregate  the  animal  cruelty.  But  as  we  watch,  we  real- 
television  dance  show  she  performs  on;  ize  that  the  harm  done  to  this  innocent 
and  Bamboozled  (2000),  Spike  Lee's  par-  creature  (animals  trained  to  savage  others 
odic  take  on  the  ways  in  which  blacks  are  have  most  likely  been  savaged  them- 
represented  on  television  when  white  selves)  was  carried  out  by  some  meanie 
producers  are  making  the  decisions.  off-screen.  For  Samuel  Fuller,  White  Dogs 

In  the  chronology  of  films,  there  was  a      director,  that  meanie  assumed  the  form 
progression  in  filmmaker  approach,  most      of  Paramount  Pictures,  the  film's  distrib- 
notably   with    the    more    contemporary       utor,  which  initially  banned  White  Dogs 
films  making  use  or 
humor  and  absurdity 
in    a   way    that   was 
off-limits    to    earlier 
productions.     Films 
like  Hairspray, 

Bamboozled,  and 
Watermelon  Man 
demonstrate  how 
ludicrous  American 
racial  history  is  by 
presenting  equally 
ludicrous  characters 
(both  black  and 
white)  and  scenarios. 
Earlier  films  assume 
a  more  moralistic, 
some  might  say 
apologetic,      stance 

on  white  tyranny.  To  Kill  a  Mockingbird, 
directed  by  Robert  Mulligan,  presents 
actor  Gregory  Peck  as  the  munificent 
Southern  lawyer  defending  a  black  man 
against  charges  or  raping  a  white  girl. 
This  portrayal,  cut  from  the  swath  or  relations  between  whites  and  blacks, 
classic  Hollywood  drama,  interprets  There  were  no  films  that  addressed  how 
whiteness  as  a  broad  social  problem  out      white    power    or    privilege    is    exercised 


Br  V£  \  *<BkN] 


To  Kill  a  Mockingbird,  another  festival  choice,  examined  the  con- 
cept of  "whiteness"  in  1962  (Universal  Pictures) 


release  on  the  grounds  that  it  was  too 
graphic  and  disturbing. 

What  was  striking  and  somewhat  iron- 
ic about  the  selections  in  "White:  A  Film 
Series"  is  that  they  were  all  films  about 


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May  2005  I  The  Independent  23 


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Dennis  Haysbert  plays  the  gardener  in  Far 
From  Heaven  (Focus  Features) 


against  other  groups  of  color — Asians  for 
example,  or  Latinos.  This  gap  begged  the 
question:  Is  whiteness  only  "white"  when 
it  rubs  up  against  blackness? 

"Since  [the  festival]  attempts  to  reach  a 
general  audience — including  white  peo- 
ple for  whom  the  idea  of  'whiteness'  and 
the  need  for  its  examination  remains 
relatively  unknown — I  tended  to  stick  to 
a  handful  of  key  issues,"  said  Berger,  who 
is  white.  "Interestingly,"  he  added,  "the 
response  to  the  series  often  fell  into  two 
camps:  people  of  color  who  were  relieved 
that  a  white  curator  was  willing  to  see 
whiteness  in  such  an  honest  way,  and 
white  people  who  said  that  they  had 
never  before  thought  of  these  issues, 
especially  in  relation  to  themselves." 

As  a  festival,  "White"  may  show  white 
people,  who  might  think  otherwise,  that 
yes,  there  is  a  social  significance  to  race — 
even  their  own.  What,  I  wonder,  does  it 
show  everybody  else?    7^ 


24  The  Independent  I  May  2005 


PRODUCTION  JOURNAL 


*Neal? 


Choosing  to  document  a  damaged  man 


By  Chris  Deleo 


I  met  Neal  Hecker  in  1991.  We  were 
both  in  our  early  20s  and  stocking 
shelves  at  a  local  health  food  store 
on  Long  Island,  New  York.  I  couldn't  put 
my  finger  on  it  at  the  time,  but  there  was 
something  about  Neal  that  made  me 
want  to  know  more  about  him.  He 
reminded  me  or  Franz  Kafka.  Like  Kafka, 
who  poured  so  much  of  his  energy  and 
writing  into  Felice,  his  great  love  and 
muse,  Neal  had  Jennifer,  a  girl  whom  he 
had  once  kissed  when  they  were  both  14 
years  old. 

Neal  never  recovered  from  his  puppy 
love  for  Jennifer,  and  over  a  decade  later 
he  was  still  mailing  her  long,  elaborate 
love  letters.  He  would  leave  desperate 
messages  on  her  answering  machine, 
sometimes  sobbing  until  the  tape  ran  out. 
He  explained  to  me  how  his  feelings  for 
Jennifer  were  wrapped  up  with  his  feel- 
ings toward  his  mom,  having  been  reject- 
ed by  both  women.  He  couldn't  resolve 
the  issue  with  Jennifer  because  it  went 
too  far  back  in  his  psyche. 

But  in  1997,  Neal  met  Alice,  a  preco- 


cious high  school  teenager.  Despite  their 
age  difference  (Neal  then  30,  and  Alice 
15),  the  two  became  friends.  They  spoke 
on  the  phone  a  few  times,  had  lunch  in 
the  city,  and  took  a  walk  through  Central 
Park.  When  I  interviewed  Alice  shortly 
after  they  met,  she  made  it  very  clear  that 
while  she  thought  Neal  was  an  interesting 
guy,  there  were  absolutely  no  romantic 
feelings  on  her  end.  Neal,  however,  was 
prepared  to  wait  until  Alice  turned  1 8  to 
pursue  his  very  romantic  feelings.  He 
wanted  to  marry  Alice,  and  when  she  told 
him  the  feelings  were  not  mutual,  Neal 
was  heartbroken. 

"TTonestly,  I  can't  even  begin  to  imagine 
Neal's  fate  if  he  weren't  a  talented  and 
prolific  artist.  You  always  read  about  the 
dysfunctional  lives  of  artists  and  how 
they  were  saved  or  reborn  through  their 
work.  In  Neal's  case,  this  seems  all  the 
more  poignant.  Since  I've  known  him,  he 
has  produced  dozens  of  detailed  collages 
and  has  written  countless  hours  of  solo 
acoustic  guitar  music.  His  collages  are 
wild  and  hit  you  like  a  polo  mallet.  They 


appear  to  stand  as  a  monument  to  his 
childhood  and  deeply  felt  autobiographi- 
cal experiences. 

After  several  emotional  setbacks,  a  sui- 
cide attempt,  and  an  extended  stay  at 
New  York  Hospital,  Neal  took  his  moth- 
er up  on  her  offer  to  come  live  with  her 
in  the  Kings  Park  house  she  shared  with 
her  boyfriend,  Vinny.  I  can't  recall  exact- 
ly how  or  why,  but  shortly  after  he  settled 
in,  Neal  got  it  into  his  head  that  Vinny 
was  out  to  kill  him.  He  was  sure  Vinny 
was  going  to  poison  him  or  murder  him 
in  his  sleep.  Consequently,  Neal  began  to 
devise  elaborate  schemes  to  avoid  seeing 
Vinny  face  to  face,  like  urinating  into 
glass  fruit  juice  bottles  that  he  kept  by  the 
side  of  his  bed.  It  was  "so  much  easier  this 
way,"  he  told  me.  Being  a  creative  guy,  he 
later  devised  a  makeshift  toilet  from  an 
old  hamper  by  lining  it  with  trash  bags 
and  filling  it  with  kitty  litter.  He  kept  his 
little  toilet  in  a  shed  in  his  mom's  back- 
yard, and  during  the  night,  Neal  would 
click  on  a  flashlight,  climb  out  of  his  bed- 
room window,  and  make  his  way  to  the 


May  2005  I  The  Independent    25 


shed  to  do  his  business.  The  bags  were 
stored  in  the  trunk  of  his  car.  Once  a 
week,  Neal  would  drive  around  Suffolk 
County  and  hurl  them  into  dumpsters. 

There  was  a  dramatic  component  at 
work  here.  Tension  and  adversity, 
whether  self-inflicted  or  not,  were  all 
around  him.  It  was  during  this  time  that 
the  initial  idea  to  make  a  documentary 
about  Neal  came  to  me.  His  life  seemed 
to  have  it  all.  There  was  unrequited  love, 
parental  abandonment,  mental  illness, 
antagonism,  weird  habits,  and  artistic 
ambition. 

Neal  and  I  talked  it  over.  He  was  skep- 
tical at  first  and  wondered  if  I  could  make 
a  "real  movie"  using  only  a  simple  video 
camera.  He  also  questioned  whether  his 
life  story  would  be  compelling  enough 
for  people  to  care  about.  I  suggested  we 
start  by  filming  a  few  conversations,  as 
well  as  his  ritual  in  the  shed.  Reluctantly, 
he  agreed. 

As  far  back  as  I  can  remember  I've 
wanted  to  make  a  movie.  The  fact  that  I 
had  no  money,  never  went  to  film  school, 
and  didn't  own  a  camera,  seemed  beside 
the  point.  My  first  order  of  business  then 
was  to  purchase  the  most  expensive  cam- 
era I  could  afford.  It  was  a  Canon 
ES6000,  which  cost  MasterCard  $1,100. 
I  also  picked  up  some  magazines  and  a 
couple  of  books  on  basic  photography 
and  video  camera  technique.  The  first 
few  hours  of  filming  were  dry  and 
uneventful.  Mostly  it  was  Neal  milling 
about  in  the  shed,  describing  his  bath- 
room habits,  showing  me  his  artwork,  or 
obsessing  over  Jennifer  or  Alice.  I  liked 
what  I  was  hearing  though.  Neal  has  this 
way  of  talking. ..it's  almost  literary.  And 
then  eventually,  Neal  introduced  me  to 
his  mother. 

What  can  I  say  about  Anne?  She's 
poetic,  lovable,  and  artistic.  Anne  and 
Neal  in  front  of  the  camera  looked  like 
something  out  of  an  Ingmar  Bergman 
movie.  They  talked  openly  about  Anne 
having  abandoned  Neal  when  he  was 
only  5  years  old.  They  chatted  freely 
about  Neal's  suicide  attempts  and  the 
time  he  spent  in  New  York  Psychiatric 
Hospital.  They  discussed  Bill  (Neal's  dad) 


and  the  divorce,  and  how  Bill  had  to  raise 
three  children  alone  while  Anne  secluded 
herself  and  battled  her  own  mental  ill- 
ness. All  I  had  to  do  was  turn  on  the  cam- 


Neal  and  his  mother,  Anne  (Chris  Deleo) 

era  and  make  sure  it  was  in  focus,  because 

they  were  never  at  a  loss  for  conversation. 

Saturday  mornings  were  my  favorite 


time  to  film.  When  I  arrived  at  Anne's 
house  she  was  usually  in  the  midst  of 
making  breakfast — a  poached  egg,  coffee, 
and  toast.  Vinny  was  at  work,  and  Neal 
was  always  fast  asleep.  After  a  cup  or  two 
of  her  delicious  coffee,  I  would  turn  on 
my  camera  and  talk  with  Anne.  Neal 
used  to  joke  about  us  having  a  secret 
affair.  When  Neal  woke  up  he'd  always 
head  straight  for  the  shed.  Anne  never 
seemed  to  mind  Neal's  unorthodox  use  of 
her  shed.  Having  grown  up  in  a  house 
with  an  overbearing  father,  Anne 
empathized  with  her  son's  need  for  priva- 
cy, and  to  a  lesser  degree,  understood  his 
fear  of  Vinny. 

Over  time,  more  and  more  people 
became  part  of  the  filming  of  Why  Neal. 
Friends,  co-workers,  siblings,  love  inter- 
ests, all  had  something  to  say  when  it 


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Deleo's  circular  plot  diagram  made  his 
editing  process  easier  (Chris  Deleo) 


26  The  Independent  I   May  2005 


Cover  art  for  the  film  Why  Neal? 
(Chris  Deleo) 


came  to  Neal.  I  also  called  Jennifer  sev- 
eral times,  but  couldn't  convince  her  do 
to  an  interview.  Her  friend  Virginia 
explained  on  camera:  "Jennifer  wants 
nothing  to  do  with  Neal,"  and  he 
should  leave  her  alone.  Ironically,  it  was 


Jennifer  who  titled  the  film.  During 
one  of  our  phone  conversations  she 
paused  and  asked,  "Why  make  a  movie 
about  Neal?  Why  Neal?"  We  hope  the 
film  answers  Virginia's  question. 

It  was  always  Neal's  intention  to 
leave  his  mother's  house  and  move  out 
on  his  own.  His  original  plan  was  to 
stay  with  her  for  a  couple  of  months 
until  he  got  back  on  his  feet.  That  cou- 
ple of  months  turned  into  three  years. 
But  at  the  end  of  filming,  Neal  moved 
out  and  into  a  yoga  ashram. 

I  shot  150  hours  of  rootage  over  the 
course  ol  two  years.  The  entire  project 
cost  me  less  than  $2,000.  When  people 
watch  the  film,  they  never  know 
whether  they  should  laugh  or  be  horri- 
fied. I  always  encourage  them  to  laugh. 
Meanwhile,  I'm  trying  to  sell  Why  Neal. 
Being  a  team  of  one  can  take  its  toll. 
Neal  helps  out  when  he  can — once  a 


week  we  both  head  into  Manhattan  to 
pitch  the  movie  to  distributors.  Having 
Neal  there  in  the  flesh  and  shaking 
hands  with  people  really  helps  drive 
home  the  quirkiness  of  the  film.  But  the 
work  of  promoting  this  film  is  never- 
ending.  To  be  honest,  sometimes  I  want 
to  quit  everything — I  want  to  quit 
everything  and  move  far  away.. .maybe 
to  the  French  Quarter  in  New  Orleans. 
One  day  a  few  months  ago,  Elisa 
Haradon,  a  talented  documentary  film- 
maker living  in  Seattle,  emailed  me 
after  reading  a  review  of  Why  Neal.  She 
connected  deeply  with  the  film,  and 
thanks  to  her,  we  now  have  a  website — 
www.whyneal.com — that  she  has 
designed  from  the  ground  up.  It's  peo- 
ple like  Elisa,  with  her  enthusiasm  and 
positive  energy  towards  the  film  that 
have  kept  me  sane  and  wanting  to  make 
more  movies.    ~k 


May  2005  I  The  Independent    27 


ONTHE  SCENE 


Cable 

for 

Film 

Geeks 


The  Z  Channel  is  keeping  the 
IFC  edgy 


By  Sarah  J.  Coleman 

Imagine  a  cable  television  channel  that 
serves  your  every  need  as  a  lover  of 
independent  film.  When  you  want  to 
see  the  best  contemporary  foreign 
movies,  they're  right  there  for  you,  along 
with  eclectic  and  provocative  fare  from  all 
over  North  America.  This  is  a  place 
where  forgotten  masterpieces  are 
restored,  directors'  cuts  prevail,  and 
Jacqueline  Bisset  gets  her  very  own  festi- 
val. Or  perhaps  you're  in  the  mood  for  a 
blockbuster?  That's  there,  too.  And  as  a 
subscriber,  you  get  a  programming  guide 
filled  with  commentary  by  some  of  the 
sharpest  film  critics  around. 

If  that  sounds  too  good  to  be  true,  it 
probably  is — these  days  anyway.  But 
from  1974  to  1989,  the  Z  Channel  in 
Los  Angeles  was  all  of  the  above.  Perhaps 
the  ultimate  film  geek's  cable  channel  of 
all  time,  Z  offered  its  subscribers  pro- 
gramming that  ran  the  gamut  from  the 
far  fringes  of  obscurity  to  the  heart  of 
Hollywood.  On  any  given  night,  viewers 
might    tune    in    ro    find    films    by   Luis 


Bunuel,  Henry  Jaglom,  Andrei 
Tarkovsky,  Robert  Altman,  or  George 
Lucas.  Movies  with  tarnished  reputa- 
tions, like  Michael  Cimino's  epic  Heaven's 
Gate  got  a  new  life  when  they  were 
shown  on  Z  as  directors'  cuts.  In  its  1 5 
years,  Z  Channel  inspired  what  was 
almost  a  cult  following  (no  subscriptions 
were  ever  canceled) — that  is,  until  its 
troubled  head  programmer  Jerry  Harvey 
killed  his  wife  and  committed  suicide, 
hastening  the  channel's  end. 

The  documentary  Z  Channel:  A 
Magnificent  Obsession,  airing  on  IFC  May 
9,  explores  the  crazy  brilliance  of  Z 
Channel  and  traces  the  tragic  arc  of 
Harvey's  life.  Written  and  directed  by 
Xan  Cassavetes  (daughter  of  John),  the 
documentary  illuminates  a  pivotal  era  in 
the  history  of  independent  films — a  time 
when  audiences  had  a  thirst  for  movies 
from  all  over  the  globe,  when  directors 
like  Nicolas  Roeg  and  Henry  Jaglom 
found  that  even  if  they  couldn't  get  a 
major  distribution  deal,  they  could  find 


an  audience  on  Z. 

Z  Channel  was  "an  unpretentious, 
eclectic,  beautiful  view  of  all  kinds  of 
film.  It  wasn't  elitist,  it  was  for  the  peo- 
ple," says  Cassavetes,  who  has  fond  mem- 
ories of  watching  the  channel  as  a  teenag- 
er, after  being  grounded  by  her  father  for 
sneaking  out  to  punk  rock  clubs.  The 
punishment  didn't  seem  too  harsh  when 
she  got  to  discover  directors  like 
Kurosawa  and  Bunuel,  or  watch  an  edgy 
movie  like  Roeg's  Bad  Timingm  the  com- 
fort of  her  own  home.  "Kids  were  able  to 
see  a  movie  like  Bad  Timing,  [and  get  a] 
serious  glimpse  into  the  lives  of  adults," 
she  says.  "These  days  it's  so  hard  even  to 
find  a  movie  with  adult  themes  for 
adults,  let  alone  for  kids  to  sneak  into." 

Along  with  the  documentary,  IFC 
viewers  will  also  get  a  chance  to  see  some 
of  the  films  that  had  their  destinies 
altered  when  they  were  shown  on  Z. 
Immediately  after  the  documentary 
screens,  IFC  will  be  showing  Oliver 
Stone's    Salvador   (1986),    whose    star, 


28  The  Independent  I  May  2005 


The  IFC  will  show  Oliver  Stone's  Salvador  (1986)  as  part  of  their  Z  Channel  tribute 


James  Woods,  credits  his  Academy  Award 
nomination  and  subsequent  career  to  the 
film's  exposure  on  Z.  Then,  on  May  14 
and  1 5,  a  whole  weekend  will  be  devoted 
to  classic  films  whose  destiny  was  influ- 
enced somehow  by  the  Z  Channel.  Chief 
among  these  is  Heaven's  Gate,  a  western 
that  went  massively  over-budget  and  was 
initially  panned  by  critics  as  being  un- 
American  and  a  general  mess.  When 
Harvey  found  a  single  print  of  the  direc- 
tor's cut  languishing  in  a  London  ware- 
house and  showed  it  on  Z,  critics  reap- 
praised the  film  positively.  The  director's 
cut  now  prevails  on  video. 

All  of  this  programming  seems  partic- 
ularly fitting  for  IFC,  Executive  Vice 
President  Evan  Shapiro  says,  since  "with- 
out Z  Channel  there  probably  wouldn't 
have  been  an  IFC."  Though  times  have 
changed  since  the  Z  Channel's  heyday — 
back  then,  says  Cassavetes,  "it  was  possi- 
ble to  license  films  lor  less  than  trillions 
of  dollars" — Shapiro    says    that    IFC    is 


working  hard  to  replicate  the  kind  of  cut- 
ting-edge, eclectic  programming  that  Z 
pioneered.  Just  as  Z  Channel  organized  a 
slate  of  programming  around  a  particular 
actor,  director,  or  movie,  Shapiro  says, 
IFC  creates  its  own  mini  "festivals" — the 
"Z  Channel  Weekend,"  for  example.  And 
no  matter  what  the  FCC  says,  you'll 
never  see  IFC  cutting  or  censoring  live 
broadcasts  such  as  the  Independent  Spirit 
Awards.  "In  a  world  where  even  Chris 
Rock  can  be  boring  on  the  Oscars,  we  let 
Sam  Jackson  and  everyone  in  Hollywood 
have  control  of  the  stage,  live,  without 
commercials,"  Shapiro  says.  "That's  pret- 
ty ballsy.  The  same  is  true  ol  our  pro- 
gramming. We  don't  alter  the  art;  content 
is  always  king  for  us." 

All  of  which  explains  why  a  documen- 
tary about  a  troubled  programmer  from  a 
small  cable  station  in  Los  Angeles  who 
killed  himself  and  his  wife  found  a  home 
at  IFC  Productions.  "Even  HBO  might 
have  looked  at  that  and  said,  it's  a  small 


4 

/ 


& 


mm-' 


jSSP* 


# 


Includes  kate  bernstein  s 

AWARD  WINNING 
SHORT 

starring  Lydia  Hearst! 


stylish  film  hailed  as  a  21st  Centur 

Less  Than  Zero'.  Follow  this  acutely 

knowing  mood  piece,  as  it  charts  ?J 

deceptively  languid  day  in  which 

Hollywood  youngster,  Charlie  Fox 

[Gummersall)  faces  the  unraveling  of  his  life 

featuring  formidable  performances  from;' 

Devon  Gummersall,  Arly  Jover" 

\Eion  Bailev  and  Leslie  Bibb  "" 


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May  2005  I  The  Independent  29 


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Christopher  Walken  in  Heaven's  Gate 
(United  Artists) 

story  for  a  small  audience,"  Shapiro  says. 
"We  thought  it  was  bigger  than  that.  We 
saw  the  legacy  of  Jerry  Harvey  being  tied 
to  the  legacy  of  independent  film.  He  fur- 
thered the  cause  of  independent  film  and 
auteurs  in  a  way  that  few  others  have." 

In  the  film,  Harvey  comes  across  as  a 
complex  character — brilliant  and  driven, 
but  spiky  and  pessimistic,  haunted  by  the 
suicides  of  two  older  sisters.  A  former 
assistant  programmer  at  Z  Channel 
remembers  being  summoned  to  his  office 
one  morning  and  being  told,  "I  don't  like 
the  air  you  breathe;  I  don't  like  the 
ground  you  walk  on."  But  Harvey's  total 
devotion  to  film  is  obvious,  and  he  is 
warmly  remembered  by  friends  and 
Hollywood  luminaries  alike.  Director 
Stuart  Cooper,  who  was  plucked  out  of 
obscurity  by  Harvey  and  given  a  "Stuart 
Cooper  Month"  on  Z,  remembers  how 
Harvey  was  sensitive  to  "how  someone 
had  been  slighted  when  they  shouldn't 
have  been  slighted,  or  beaten  up  when 
they  shouldn't  have  been  beaten  up." 

Z  Channel's  fortunes  began  unraveling 
when  the  stock  market  crashed  in  1987, 
and  the  channel's  owner,  a  small  media 
company  in  Seattle,  was  forced  to  bail 
out.  Harvey  attempted  to  save  Z's 
prospects  by  accepting  a  merger  with 
Spectacore,  a  sports  channel.  At  around 
the  same  time,  Z  became  entangled  in  a 


complicated  lawsuit,  and  Harvey  found 
himself  in  court,  giving  lengthy  deposi- 
tions against  colleagues  at  other  cable 
channels.  The  end  was  nigh:  a  week  after 
Z  plus  Sports  was  launched  in  April 
1988,  Harvey  shot  his  wife  to  death  and 
then  turned  the  gun  on  himself.  Z  plus 
Sports  limped  along  for  another  year 
before  going  off  the  air  forever. 

Shapiro  says  that  there's  a  lesson  to  be 
learned  from  the  Z  Channel's  trajectory, 
and  IFC  will  never  make  the  kinds  of 
compromises  that  drove  Z  Channel  off  the 
air.  "Remaining  independent  in  an  era 
where  it's  much  easier  and  more  profitable 
to  do  otherwise  is  probably  the  most 
courageous  thing  we've  done,"  he  says  of 
IFC's  10-year  history.  Of  course,  "inde- 
pendent" is  in  the  eye  of  the  beholder.  IFC 
is  part  of  Rainbow  Media  Holdings  LLC, 
which  also  runs  AMC,  Fuse,  and  the  WE 
(Women's  Entertainment)  channel,  and  is 
a  subsidiary  of  the  cable  company 
Cablevision.  "Cablevision  is  not  a  small, 
teeny-tiny  company,  but  when  you  look  at 
the  convergence  of  media  messages  out 
there,  we  are  considered  independent," 
Shapiro  says.  "We're  a  small,  independent 
television  channel  that's  part  of  a  small, 
independent  corporate  parent." 

Recently,  IFC  found  what  it  felt  was  the 
perfect  voice  to  express  its  spirit  of  inde- 
pendence:     Green      Day's      "Jesus      of 


30    The  Independent  I   May  2005 


James  Woods,  (in  Salvadore)  credits  his  Academy 
Award  nomination  to  the  film's  exposure  on  Z 


Suburbia,"  the  9-minute-plus  anthem  that 
anchors  the  bands  Grammy  Award-win- 
ning American  Idiot  album.  In  March, 
IFC  and  Green  Day  inked  a  deal  that  will 
see  IFC  using  "Jesus  of  Suburbia"  in  its 
on-  and  off-air  promotions  for  the  coming 
year,  as  well  as  giving  the  song  repeated 
exposures  on  the  channel.  It  will  become 
"our  audio  calling  card  and  the  voice  of 
our  vision,"  says  Shapiro,  who  likes  the 
idea  that  "you  could  get  a  45-year-old  pro- 
fessor in  Amherst,  Massachusetts  to  listen 
to  a  little  Green  Day  because  it's  connect- 
ed to  an  independent  film  and  an  18-year- 
old  tech-head  who  loves  Green  Day  to  be 
enticed  by  a  title  he  might  not  otherwise 
have  seen." 

Given  that  American  Idiot  has  been 
embraced  by  people  with  a  grudge 
against  the  current  occupant  of  the 
White  House  (at  a  recent  Green  Day 
concert  in  London,  the  audience  joyfully 
chanted  "Idiot  America!"),  partnering 
with  Green  Day  could  be  seen  as  a  polit- 
ical statement  on  IFC's  part.  Shapiro 
insists,  however,  that  the  album  is  essen- 
tially nonpartisan:  "It  speaks  about  not 
wanting  to  be  a  conformist — about 
things  that  every  independent  free 
thinker  in  this  country  probably  feels  at 
one  time  or  another." 

And  where  Z  Channel  employed  leg- 
endary critic  F.X.  Feeney  to  write  reviews 


in  its  programming  guide,  IFC  has 
Henry  Rollins,  whose  "Henry's  Film 
Corner"  debuted  last  December. 
Formerly  the  lead  singer  of  the  punk 
band  Black  Flag,  Rollins  is  an  explosive 
personality  who's  as  likely  to  hold  forth 
on  why  he  doesn't  like  dating  southern 
Californian  women  as  he  is  to  launch 
into  a  diatribe  about  the  lameness  of 
Terminator  3.  "We  love  Roger  Ebert  and 
all  the  film  reviewers  out  there,  but  some- 
times when  you've  been  working  in  the 
film  industry  for  many  years,  it's  hard  to 
see  the  forest  for  the  trees,"  Shapiro  says. 
"Henry  won't  be  edited,  so  he's  probably 
not  going  to  get  a  show  on  a  major  net- 
work. We  feel  he  belongs  on  IFC  for  that 
very  reason." 

"Henry's  Film  Corner,"  Green  Day, 
the  "Z  Channel  Weekend" — they're  all 
ways  of  keeping  IFC  relevant,  edgy,  and 
viable.  But  Shapiro  says  IFC  will  never 
lose  sight  of  its  core  mission,  or  "shake 
free  from  the  moorings  of  our  begin- 
nings" as  the  home  for  independent  film 
on  television.  The  station's  new  tagline — 
"TV,  uncut" — expresses  what  Shapiro 
sees  as  IFC's  promise  to  viewers:  "No 
crap,  no  clutter,  just  kickass  shows  and 
kickass  films." 

Wherever  it  is,  the  troubled  spirit  of 
Jerry  Harvey  can  rest  in  peace.    ~k 


Film  Talk 


JAMES  IVORY  IN  CONVERSATION 

How  Merchant  Ivory  Makes  Its  Movies 
by  Robert  Emmet  Long 

Foreword  by  Janet  Maslin 
"This  series  of  conversations. ..informs  and 
engages.  Ivory  charmingly  speaks  about  a 
career  that  includes  credits  ranging  from  A 
Room  with  a  View  to  Surviving  Picasso.  He 
offers  insight  into  his  technique  and  artistic 
approach,  selection  of  subject  matter, 
choice  of  actors,  and  interactions  with  asso- 
ciates like  producer  Ismail  Merchant  and 
writer  Ruth  Prawer  )habvala....  Illuminating 
and  often  humorous. "-LIBRARY JOURNAL 
$24.95  hardcover 

THE  MOST  TYPICAL  AVANT-GARDE 

History  and  Geography 

of  Minor  Cinemas  in  Los  Angeles 

by  David  E.  James 

"Transforms  our  sense  of  the  history  and 
geography  of  American  independent  cinema." 
-SCOTT  MACDONALD, 
author  of  the  Critical  Cinema  Series 
$29.95  paperback,  $65.00  hardcover 

At  bookstores  or 
(800)  822-6657  •  www.ucpress.edu 

University  of 
California  Press 


May  2005  I  The  Independent  31 


Gregg  Araki  Gets 

Mysterious 


PLEASING  THE  POST-PREFERENCE  GENERATION  WITH  A 
SHOCKINGLY  UNSHOCKING  NEW  FILM 


BY  LISA  SELIN  DAVIS 

Gregg  Araki  is  George 
Bush's  worst  night- 
mare. In  Araki's  paral- 
lel cinematic  univers- 
es, the  mainstream  is  subverted, 
what  the  right  wing  would  label  "deviant"  is  normalized,  and 
outcasts  and  outsiders  dominate,  calling  the  shots  from  the  cen- 
ter. His  films'  usual  thematic  mix  includes  teenagers  coming  of 
age,  gay  sex,  violence,  drugs,  and  space  aliens.  Araki  intends  nei- 
ther to  indict  nor  explain  these  subjects  and  subcultures,  but  to 
legitimize  them  by  not  even  admitting  they're  controversial. 
"I'm  not  out  with  any  of  my  movies  to  shock  people  or  outrage 
people  or  push  people's  buttons,"  he  says.  But  some  people  do 
find  his  vision  shocking,  enough  so  that  one  blogger  accused 
Araki's  work  of  having  "no  moral  center."  Araki  couldn't  dis- 
agree more. 

"As  the  person  that  makes  these  movies,  I  feel  they  have  a  very 

32  The  Independent  I  May  2005 


•as 

.2  u- 


strong  moral  center,"  he  says. 
"They're  presented  as  a  story  of 
grays  and  not  black  and  whites. 
Not  a  TV  movie."  His  goal  is  to  tell 
new  stories,  not  to  rehash  the  same 
tired  plots  we've  all  seen  before.  "That  [don't]  give  the  audience 
any  credit  for  being  intelligent  or  creative,"  he  says. 

After  eight  films,  the  45-year-old  Araki  has  a  cult  following, 
an  audience  that  is  certain  to  widen  with  his  latest  film, 
Mysterious  Skin,  released  this  month  from  Tartan  Films.  He 
seems  to  have  created  a  genre  all  his  own,  though  it's  hard  to 
know  what  to  call  it.  Beach  party  flick  meets  Troma  Brothers 
meets  Godard  meets  gay  subculture?  Araki  himself  described  his 
1993  film  Totally  F***ed  Up  as  "a  rag-tag  story  of  the  fag-and- 
dyke  teen  underground... A  kind  of  cross  between  avant-garde 
experimental  cinema  and  a  queer  John  Hughes  flick." 

Yes,  there's  a  sci-fi  element,  and  there's  sex  and  violence,  with 


the  line  between  them  often  blurting.  But  there's  another 
theme,  too — one  that  becomes  obvious  if  you  take  in  his  full 
oeuvre.  Each  of  his  films,  really,  is  about  the  quest  for  true  love 
and  acceptance  and  for  a  place  to  feel  at  home.  And  what  Araki 
offers  the  characters  in  his  films,  people  who  might  otherwise  be 
looked  upon  as  "freaks"  by  the  mainstteam,  is  a  safe  haven, 
albeit  a  cinematic  one. 

"My  movies  are  often  misinterpreted  as  being  nihilistic  and 
dark,"  Araki  says.  "My 
movies  at  their  core  are 
extremely  romantic  in 
that  they're  sort  of  about 
this  idealized  seatch  lor 
love  in  a  world  of  chaos 
and  confusion." 

Araki  was  born  in  Los 
Angeles  and  grew  up  in 
Santa  Barbara.  As  a 
child,  he  spent  hours 
drawing,  and  by  9  years 
old  he  had  created  his 
own  series  of  comic 
books.  "I've  always  been 
kind  of  an  artistic  spit- 
it,"  he  says.  As  an 
undergraduate  at  the 
University  of  California 
at  Santa  Barbara,  Araki 

studied  film  history,  and  it  was  then  that  he  began  to  take  cine- 
ma seriously,  to  funnel  all  of  his  artistic  energy  into  film.  He 
went  on  to  receive  a  master's  of  fine  arts  in  film  production  at 
the  University  of  Southern  California,  and  he  credits  his  formal 
film  education  with  helping  to  define  his  cinematic  sensibility. 

"I  was  exposed  at  a  young  age  to  the  breadth  of  film  history 
and  a  pantheon  of  auteurs,"  he  says.  He  feels  this  is  what  sepa- 
rates him  from  the  next  generation  of  independent  filmmak- 
ers— those  who  are  attempting  to  emulate  recent  film  sensations 
rather  than  studying  the  mastets.  He  calls  them  "Sundance-y 
kind  of  directors"  and  "Quentin  Tarantino  wannabes,"  pointing 
out  that  Tarantino  learned  by  studying  the  films  of  everyone 
from  Ozu  to  Truffaut,  not  from  Hollywood  hits  that  came  out 
three  years  ago.  "They  don't  have  a  sense  of  any  kind  of  tradi- 
tion. They've  never  really  gone  to  the  original  source." 

You  can  spot  the  influence  of  these  movie  masters  if  you  look 
closely  into  Araki's  work:  He  calls  Totally  F***ed  Up  his  own 
Masculine,  Feminine  (1966):  "I  wanted  to  make  this  film  about 


Joseph  Gordon-Levitt  (front)  stars  as  Neil 
(Tartan  Films) 


these  gay  teenagers  the  way  Godard  used  Masculine,  Feminine  as 
an  examination  of  French  society  at  a  certain  time,"  Araki  says. 
In  The  Doom  Generation  (1995),  the  second  in  Araki's  "teen 
apocalypse  trilogy,"  you  can  find  cinematic  quotations  from 
Eisenstein's  Battleship  Potemkin  (1925).  And  in  Splendor  (1999), 
he  recreates  Annie  Leibovitz's  famous  shot  of  John  Lennon  curl- 
ing himself  around  Yoko  Ono,  and  there  are  several  Busby 
Berkeley-style  overhead  shots,  as  well. 

But  as  much  as  Araki 
has  been  inspired  by 
cinematic  greats  like 
Vertov  or  Kurosawa, 
two  genres  of  American 
movies  predominantly 
influenced  him:  what 
he  calls  the  "couple-on- 
the-run"  movies  and 
screwball  comedies. 
"They're  both  about 
the  romantic  notion  of 
pute  love  in  an  impure 
and  violent  and  dan- 
gerous world,"  he  says. 
Along  with  his  over- 
all love  of  cinema,  add 
one  more  ingredient 
and  you  begin  to  under- 
stand more  completely 
the  Araki  mindset.  That  last  ingredient  is  punk.  "We  were  so 
hugely  influenced  by  the  whole  punk  rock  movement  of  the  70s 
and  80s,  that  philosophy  of  that  kind  of  D-I-Y,  garage  band,  do- 
what-you-want-and-be-true-to-youtself,"  Araki  says.  "That  sen- 
sibility was  so  important  to  me." 

Araki's  "marching  to  your  own  drum"  value  system  and  his 
cinematic  education  are  what  make  up  the  Araki  vision — stories 
that,  until  Mysterious  Skin,  were  rooted  in  Los  Angeles. 
Although  often,  his  films  take  place  in  an  LA  with  none  of  the 
iconic  landscapes — no  Hollywood  sign,  no  Hollywood  and 
Vine,  no  Melrose  Avenue;  that's  not  the  part  of  LA  that  inter- 
ests Araki.  "I've  always  had  a  very  tight  relationship  with  Los 
Angeles,"  he  says.  "There  is  really  an  element  in  everyday  life  in 
LA  of  the  surreal  and  unexpected  and  the  strange  mixing  in 
with  the  ordinary  and  the  mundane....  You  can  see  aliens  walk- 
ing down  the  street,  and  you  just  don't  really  blink."  Indeed,  in 
1977's  Nowhere  (the  third  "teen  apocalypse  trilogy"  film),  an 
extraterrestrial  follows  a  band  of  teenagers,  who  are  unfazed  by 


a  teenage  hustler,  in  Mysterious  Skin 


May  2005  I  The  Independent    33 


his  recurrence.  Its  nearly  impossible  to  tell  whether  he's  an  actu- 
al menace  or  an  ineffectual  poser  in  a  costume.  And  in  the  end, 
no  one  around  the  creature  seems  to  care. 

That's  not  necessarily  indifference,  but  a  kind  of  tolerance. 
"Los  Angeles  is  so  big  and  sprawling,  and  there's  a  really  kind  of 
laissez-faire  attitude  towards  people,"  Araki  says.  "It's  not  a  big 
deal  that  somebody  is  gay  or  straight  or  bisexual  or  has  purple 
hair  or  is  black  or  Asian.  Everybody  just  sort  of  does  their  thing 
and  people  don't  really  pay  that  much  attention  to  you.  I  really 
appreciate  that  about  living  here." 

That  laissez-faire  attitude  towards  sex  and  sexuality,  race  and 
religion  is  what  sets  Araki's  films  apart.  They  are  films  for  what 
might  be  called  the  post-preference  generation — kids  who  are 
not  concerned  with  categories  of  sexuality.  (It's  a  term  used  by 
magazines  like  Details  that  cater  to  both  sides  of  the  gay/straight 
line  or  don't  even  distinguish  between  them.)  And  Araki  extends 
that  acceptance  beyond  sexuality,  to  race  and  creed — even  to 
other-than-human  species. 

Something  else  you'll  notice  about  Araki's  films  is  that  he 
manages  to  get  fairly  big  stars  to  participate  in  them,  along  with 
near-forgotten  teen  idols,  faded  beauties,  and  rising  stars.  Folks 
like  Lauren  Tewes  (that's  Julie,  your  cruise  director  from  "The 
Love  Boat"),  and  Jan  and  Peter  (from  "The  Brady  Bunch")  Eve 
Plumb  and  Christopher  Knight  have  made  cameos  in  Araki 
movies.  The  cast  lists  tend  to  look  like  a  catalog  of  Hollywood 
then,  now,  and  later:  Christina  Applegate,  Shannen  Doherty, 
Ryan  Phillipe,  Heather  Graham,  Mena 
Suvari,  Charlotte  Rae  (Mrs.  G!),  Margaret 
Cho,  Perry  Farrell,  Heidi  Fleiss,  Beverly 
D'Angelo,  Traci  Lords,  John  Ritter...  Araki 
manages  to  cull  actors  from  all  ranks  of  the 
Hollywood  social  structure.  "I've  been  so 
lucky  in  getting  people  to  go  on  this  ride 
with  me,  and  everybody  doing  it  for  the 
right  reason,  for  the  artistic  rewards 
involved,"  Araki  says. 

Based  on  a  novel  by  Scott  Heim, 
Mysterious  Skin  is  a  departure  from  many  of 
his  earlier  projects,  in  what  may  be  a  new 
level  of  artistic  reward  for  both  the  cast  and 
the  audience.  Here,  he  leaves  behind  much 
of  the  irony,  sarcasm,  and  gore  that  catego- 
rized his  previous  work  and  trades  in  the  comic  book  look  of 
earlier  works  for  something  more  stylized,  ethereal,  and  dream- 
like that,  like  a  spoonful  of  sugar,  helps  us  ingest  the  difficult 
subject  matter  of  the  movie.  It's  also  his  first  film  to  take  place 
outside  of  Los  Angeles,  along  the  flat  planes  of  Kansas,  with 
some  scenes  in  New  York  City. 

Joseph  Gordon-Levitt  (the  former  young  star  of  television's 
"Third  Rock  from  the  Sun")  stars  as  Neil,  a  teenage  hustler,  and 
Brady  Corbet  plays  Brian,  a  disturbingly  non-sexual  teenage 
boy  who  believes  he's  been  abducted  by  aliens.  "Scott's  idea  to 
link  the  idea  of  alien  abduction  and  being  violated  and  taken 
out  of  your  own  body  is  such  an  incredibly  beautiful  metaphor 


for  what  happens  to  young  Brian,"  Araki  says. 

In  the  film,  the  two  boys  share  a  traumatic  childhood  inci- 
dent that  some  might  say  influences  Neil's  choice  to  become  a 
hustler,  but  lies  dormant  in  the  mind  of  Brian.  The  film  is  not 
an  indictment  of  the  abuser  or  a  finger-pointing  after-school 
special.  It  is  more  of  an  examination  of  how  the  experience 
manifests  in  two  separate  people — a  character  study  of  two 
boys,  portrayed  with  brave  vulnerability  by  the  two  lead  actors. 
"Nobody's  presented  as  this  cardboard  cutout  of  the  bad  guy 
and  the  good  guy,"  Araki  says.  In  other  words,  the  goal  here  is 
empathy:  to  enter  the  minds  of  the  characters,  and  understand 
the  way  in  which  they  view  their  world.  "It  sheds  a  light  and 
makes  you  go  through  that  experience,  and  you  really  sort  of 
understand  it  in  a  way  that  I  don't  think  is  possible  if  it  didn't 
happen  to  you." 

That  very  lack  of  moral  condemnation  or  preaching  is  what 
opens  the  film  and  allows  one  to  enter  inside.  "The  most  shock- 
ing thing  about  Mysterious  Skin  is  how  not  shocking  it  is,"  Araki 
says.  "The  book  is  this  dark  and  unsettling  story  told  in  this 
poetic  and  beautiful  language.  We  wanted  to  translate  the  beau- 
ty of  the  prose  into  cinematic  beauty,  something  that  was  visu- 
ally lush." 

Viewing  the  deeply  unsettling,  visually  striking,  gorgeously 
shot,  and  powerfully  acted  film  is  a  bit  of  a  roller  coaster  ride.  "I 
didn't  want  it  to  be  a  dark,  gritty,  hand-held  DV  movie — this 
jarring  thing  to  watch,"  Araki  says.  "There's  a  weird  kind  of 

dreamy  quality  to  it 
that  makes  it  almost 
the  opposite  of  a 
Larry  Clark  movie. 
Mysterious  Skin  is 
really  oddly  very  wel- 
coming and  almost 
soothing  to  watch." 

Well,  not  exactly 
soothing.  Watching 
Go  rdon-  Levi  t  t's 
fierce  portrayal  of 
Neil,  the  young  hus- 
tler who  submits 
himself  to  one  dan- 
gerous situation  after 
another,  is  not  easy.  In  one  particularly  violent  sexual  encounter, 
Neil  is  repeatedly  hit  over  the  head  with  a  bottle  of  Johnson's 
baby  shampoo  before  being  sodomized.  But  this  is,  in  some 
ways,  typical  Araki — in  your  face,  rough  to  watch,  and  then 
that  strange  flash  of  irreverent  humor. 

Mysterious  Skin  is  Araki's  first  adapted  screenplay  (all  others 
were  original),  and  yet  it  contains  that  usual  Araki  lineup  of 
characters  and  ideas — the  gay  youth,  the  science  fiction,  the  sex, 
and  the  violence.  But  it's  all  handled  with  delicacy,  a  much  more 
serious,  internal,  character-driven  drama  than  we've  seen  from 
him  before — more  mature  and  nuanced,  and  one  that  will 
probably  appeal  to  a  wider  audience.  "Particularly  older  women 


Mysterious  Skin  is  Araki's  first  adapted  screenplay  (Tartan  Films) 


34  The  Independent  I  May  2005 


-J 

Mysterious  Skin  is  deeply  unsettling,  visually  striking,  gorgeously  shot,  and  powerfully  acted  (Tartan  Films) 


are  responding  really  strongly  to  the  movie,"  Araki 
says.  "I  think  it's  this  maternal  instinct  with  regard 
to  the  two  boys."  Oscar-nominated  actress  Elisabeth 
Shue  (Leaving  Las  Vegas,  1995)  gives  a  notable  per- 
formance in  the  film  as  Neil's  mother. 

You  might  not  know  it  from  the  words  in  his 
films'  titles — "nowhere"  and  "P**ed  up" — all  hav- 
ing to  do  with  doom  and  despair  and  the  world  end- 
ing, but  Araki  is  essentially  an  optimist.  He  remains 
undeterred  by  the  bumps  and  snags  along  his  film- 
making journey  (seven  times  during  our  conversa- 
tion he  repeated,  "I'm  incredibly  lucky")  as  he  does 
about  America's  current  political  atmosphere. 

"It's  easy  to  be  super  gloomy  and  pessimistic 
about  the  current  administration  and  culture,"  he 
says.  "But  the  world  of  Nowhere  really  is  becoming 
so  true.  It's  proving  kind  or  prophetic.  Noiuhere  lives 
in  a  world  where  sexuality  and  race  is  not  a  big 
deal."  Until  we  live  in  a  world  like  this — in  which 
tolerance  is  a  given — Araki  will  continue  to  create 
them  on  film.  In  the  end,  his  vision  transforms  him 
into  a  makeshift  patriot. 

"Is  that  such  a  controversial  idea,  the  idea  of  tol- 
erance?" he  asks.  "There  are  people  out  there  that 
want  to  tell  other  people  how  to  live.  It's  really  so 
un-American.  That's  what  America  is  founded 
upon — the  freedom  to  be  yourself."    ~k 


Elisabeth  Shue  (above  and  below)  plays  Neil's  mother  in 
Mysterious  Skin  (Tartan  Films) 


May  2005  I  The  Independent    35 


Keeping 

Ine  D 


ay 


FINDING  A  BALANCE  BETWEEN 

WHAT  PAYS  YOU  AND  WHAT  REWARDS  YOU 


JOD 


BY  DAVID  ROTH 

Like  many  creative  people  who  can't  afford  to  be  creative 
about  their  material  needs,  the  poet  Wallace  Stevens 
worked  for  insurance.  But  where  many  of  today's  cre- 
ative class  take  day  jobs  to  get  some  health  insurance, 
Stevens's  approach  was  more  literal.  After  getting  his  law  degree 
and  struggling  to  make  a  living  as  a  reporter,  Stevens  took  a  job 
in  the  surety  claims  department  at  Hartford  Accident  and 
Indemnity  Company.  Seven  years  after  that,  he  published  his 
first  book  of  poetry  at  the  age  of  44,  which  promptly  received  a 
negative  review  in  The  New  York  Times.  Stevens  didn't  publish 
again  for  a  decade.  By  the  time  he  broke  back  into  print  and  was 
recognized  as  one  of  the  greatest  American  poets,  Stevens  had 
moved  up  Hartford's  chain  of  command  considerably  He  won 


36  The  Independent  I  May  2005 


the  Pulitzer  Prize  in  1955,  the  year  of  his  death,  but  in  the 
Times,  the  first  line  of  Wallace  Stevens's  obituary  summarized 
his  life  in  the  order  into  which  material  necessity  had  forced  it: 
"Wallace  Stevens,  Vice  President  of  the  Hartford  Accident  and 
Indemnity  Company  and  a  Pulitzer  Prize  winner  for  poetry  this 
year,  died  in  St.  Francis  Hospital  today." 

It's  difficult  to  imagine  Wallace  Stevens — numbering  the 
ways  to  look  at  a  blackbird  and  pondering  the  majesty  of  "The 
Emperor  of  the  Ice  Cream"  on  his  walk  home  from  work — lov- 
ing his  job.  But  Stevens  never  gave  any  indication  that  he  regret- 
ted keeping  his  daytime  gig.  "It  gives  a  man  character  as  a  poet," 
he  said  in  a  1950  interview,  "to  have  this  daily  contact  with  a 
job."  Of  course,  Stevens  was  retired  by  then. 


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It's  great  if  a  day  job  adds  character — or  really  anything 
beyond  a  modicum  of  financial  security — but  most  artists  who 
work  9  to  5  gigs  aren't  doing  it  for  self-improvement.  When  we 
work  for  health  insurance,  or  for  the  money  to  keep  the  utilities 
flowing  and  the  rent  payments  current,  we  are  making  a  choice 
that  isn't  really  a  choice  at  all.  The  necessity  of  a  day  job  has  long 
been  a  fact  of  the  artistic  life.  A  lucky  few  can  afford  to  make 
their  creative  work  their  job;  the  rest  of  us — to  paraphrase  the 
noted  godfather  of  soul  economics,  James  Brown — have  got  to 
use  what  they've  got  to  get  what  they  want.  The  trick — and  it's 
a  trick  that  probably  rolled  through  Wallace  Stevens's  mind  on 
those  rambles  home — is  creating  a  balance  between  what  pays 
you  and  what  rewards  you. 

When  it  comes  to  independent  film,  that's  complicated  for 
several  reasons.  One  of  the  more  insinuating  reasons  is  actually 
a  romantic  myth.  Certain  independent  filmmakers  are  defined, 
to  a  great  degree,  as  much  by  their  personal  back-stories  as  by 
the  stories  they  tell.  Everyone  knows  these  guys.  There's  Kevin 
Smith,  muttering  wisecracks  at  his  dead-end  convenience  store 
gig.  And  Quentin  Tarantino,  stoned  cinema  autodidact  and 
video  store  clerk,  weirding  out  his  customers  with  the  fervor  of 
his  praise  for  Monte  Hellman.  It's  cute,  this  myth  that 
independent  filmmakers  work  menial  jobs,  immerse  themselves 
in  the  art  form  they  love,  and  then. .  .well,  somehow  make  Clerks 
and  Reservoir  Dogs.  Unfortunately,  to  creative  artists  who  want 
both  to  make  ends  meet  and  make  art,  this  story  is  pretty  much 
useless. 

Useless  because  the  cost  of  living,  which  is  high  even  outside 


cripplingly  expensive  urban  centers  like  New  York  and  San 
Francisco — let  alone  the  cost  of  producing  your  own  art — does- 
n't offer  much  room  for  picaresque  day  jobs.  For  the  vast  major- 
ity of  artists — the  majority,  that  is,  that  choose  not  to  starve — 
the  alarm  rings  every  morning,  and  it's  time  to  get  on  the  bus. 

Labor  Days 

For  most  artists,  if  you  want  to  fund  your  work,  you've  got  to 
work  a  job  to  secure  your  funds.  And  that  means  dealing  with 
the  most  daunting  day  job  challenge  facing  artists:  When  your 
marketable  skills  parallel  those  you  use  to  make  your  art,  each 
workday  becomes  a  struggle  to  conserve  your  creative  energy. 
The  New  York-based  filmmaker  Kate  Bernstein,  who  currently 
daylights  as  a  segment  producer  for  VHl's  "The  Fabulous  Life" 
(and  moonlights  as,  among  other  things,  a  freelance  writer  with 
an  article  in  this  issue,  see  page  40),  knows  the  risks  of  working 
in  a  field  too  similar  to  her  chosen  art  form.  "I'm  happy  with  my 
work  and,  to  me,  my  job  is  gratifying  enough  that  the  days  don't 
suck,"  she  says,  "but  because  the  job  takes  away  the  same  type 
of  brain  power  and  energy  that  my  film  work  does,  I  find  that  I 
work  at  a  much  slower  pace."  Bernstein  wound  up  quitting  an 
unrewarding  previous  job  in  order  to  finish  her  short  Ladies 
Room,  which  she  eventually  took  to  Slamdance  in  2004. 

Jason  Rayles,  a  filmmaker,  multimedia  artist,  and  computer 
programmer,  followed  the  same  path  when  completing  work  on 
The  Fair,  a  short  he  screened  at  Sundance  earlier  this  year.  "I 
tend  to  work  in  these  manic  spurts,  both  in  my  creative  work 
and  my  paying  work,"  he  says.  "So  I  saved  some  money  from 


May  2005  I  The  Independent    37 


John  D.  Harkrider,  director  of  Mitchellville,  and  Pi  Ware,  director  of  The  Act  at  the  2005  Sundance  Film  Festival  (Rebecca 
Sapp/Wirelmage.com) 


work  and  then  quit  and  went  into  a  creative  spurt."  Otherwise, 
both  Bernstein  and  Rayles  said,  they  might  never  have  finished 
their  films.  "You  can  be  the  most  motivated  person  in  the 
world  and  it's  still  going  to  be  difficult,"  Bernstein  says.  "You 
just  don't  have  the  time  or  the  energy  at  the  end  of  the  day  to 
do  your  work  the  way  you  want  to." 

Artists  who  work  day  jobs  in  their  creative  field  pointed  out 
another  problem:  investing  their  craft  in  work  where  there  is  no 
emotional  investment.  "In  TV,  you're  using  the  same  skills  you 
would  in  film,"  Bernstein  says.  "So  you  get  to  exercise  those 
skills,  and  you  get  a  lot  more  autonomy.  But  the  product  is  very 
different,  and  that  can  be  frustrating. "  Rayles  agrees.  "When  I 
was  first  getting  into  Flash,  I  thought  these  animations  would 
be  my  artwork,  in  a  way,"  he  says.  "But  I  noticed  pretty  quick- 
ly that  it  wasn't  giving  me  any  creative  satisfaction."  The  skill- 
set  may  be  the  same,  but  the  direction  in  which  the  energy  is 
flowing  makes  all  the  difference. 

This  is  why  many  artists  try  to  create  bold  lines  between 
their  day  jobs  and  their  artistic  work.  Sometimes  this  can  be 
accomplished  by  divesting  all  emotional  or  intellectual  stakes  in 
your  work.  This  doesn't  mean  doing  a  bad  job,  naturally;  it  just 
means  knowing  when  to  go  home.  "Because  my  computer  pro- 
gramming work  is  about  functionality  and  not  about  creativi- 
ty, it's  a  lot  easier  to  differentiate,"  Rayles  says.  "I  prefer  to  save 
up  my  creative  capital  for  a  realm  in  which  I  have  more  con- 


trol." Another  route  is  seeking  work  that's  a  little  bit  further 
from  your  artistic  interests.  For  instance,  even  though  she's 
using  the  same  skills,  Bernstein  knew  that  she  had  to  put  some 
distance  between  what  she  does  and  what  she  wants  to  do  after 
an  unsatisfying  experience  working  in  the  film  industry.  "I  tried 
to  be  a  PA  and  I  just  did  not  like  working  in  film,"  she  says.  "I 
felt  so  disconnected  from  the  creative  process  doing  that,  and  I 
didn't  want  to  get  disillusioned."  And  so  sometimes,  protecting 
your  creative  energy  means  taking  a  drastic  step:  finding  a  dif- 
ferent kind  of  job. 

Tour  Buses  and  Power  Suits 

Bernstein  knows  that  if  she  worked  another  job  she  wouldn't 
have  to  deal  with  the  energy  drain  that  comes  from  spending 
her  days  among  the  rich  and  famous  subjects  of  "The  Fabulous 
Life."  "I  could  bartend  or  something,  but  I've  got  an  ego,  and  I 
want  to  do  something  that  uses  my  brain,"  she  says.  "It's  hard  to 
do  something  totally  unrelated  to  your  interests  for  12  hours  a 
day,  and  I  don't  think  I'd  like  doing  it." 

There's  certainly  no  shortage  of  waitresses  who  really  want  to 
direct  or  bartenders  who  are  actually  cinematographers — and 
we're  not  even  going  to  go  over  the  whole  video  store  clerk  thing 
again.  Still,  for  all  the  benefits  those  jobs  offer  in  terms  of  free 
time  (and  free  food),  the  service  industry  is  not  the  only  place  to 
find  jobs  that  don't  feel  like  art.  And  it  certainly  isn't  the  strangest. 


38  The  Independent  I  May  2005 


Director  Kate  Bernstein  discusses  a  scene  from  Ladies  Room  with  actress  Lydia  Hearst  (courtesy  of 
Kate  Bernstein) 


For  that,  we'll  have  to  check  in  with  the  Canadian  filmmak- 
er Tami  Wilson  and  the  American  filmmaker  John  Harkrider. 
Wilson  spends  her  springs  and  summers  driving  a  tour  bus 
through  British  Columbia,  ferrying  tourists  to  Whistler 
Mountain  and  other  scenic  sites  north  of  the  border.  Harkrider 
works  long  hours  as  a  partner  in  the  Manhattan  law  firm  of 
Axinn,  Veltrop  &  Harkrider.  By  day,  he's  an  antitrust  lawyer 
and  author  of  papers  like  "Operationalizing  the  Hypothetical 
Monopolist  Test."  By  night — often  on  nights  after  full  days  of 
work — he  became  the  writer,  director  and  star  of  the  feature 
film  Mitchellville,  which  played  to  great  praise  at  this  year's 
Sundance.  It's  hard  to  imagine  two  more  disparate  jobs,  but 
both  Wilson  and  Harkrider  have  found  day  jobs  that  make 
their  artistic  work  both  possible  and  meaningful. 

When  a  documentary  she  made  in  film  school  introduced 
Wilson  to  the  world  of  female  long-haul  truckers,  she  realized 
that  there  was  decent  money  in  vehicles  with  more  than  two 
axles.  And  tour  bus  driving  fit  another  of  her  criteria.  The  sea- 
sonal nature  of  the  job,  she  writes  in  an  email  interview,  means, 
"You  can  drive  in  the  spring  and  summer  and  do  your  own  thing 
in  the  fall  and  winter."  For  Wilson,  that  thing  is  shooting  a  doc- 
umentary called  Flesh,  which  follows  a  diverse  group  of  "women 
who  make  meat  their  business,"  ranging  from  a  rancher  to  a 
Hooters  waitress.  Despite  the  subsidies  and  grants  Wilson  is 
using  to  finance  her  film,  it's  not  something  she  could've  made 
without  her  day  job.  "Filmmaking  does  not  occur  in  a  bubble," 
she  writes.  "And  driving  exposes  you  to  a  broad  spectrum  of  social 
realities."  Moreover,  she  adds,  "Filmmaking  and  tour  bus  driving 
are  not  so  different.  A  filmmaker  tells  stories  with  a  given  set  of 
tools  and  a  tour  bus  driver  narrates  to  a  changing  visual  land- 
scape... In  the  end,  it  is  all  about  knowing  your  audience, 
whether  they  are  in  a  bus  or  a  theater." 

Harkrider,  on  the  other  hand,  will  never  argue  that  corporate 
law  and  filmmaking  are  similar,  which  was  why  he  was  so  ded- 


icated to  making  his  debut  feature  Mitchellville,  and  is  so  intent 
on  making  another  film.  Harkrider  graduated  from  college  sad- 
dled with  student  loan  debt  and  entered  corporate  law  out  of 
necessity.  He  describes  his  time  practicing  law  as  "utter  and 
complete  unhappiness...Wall  Street  represented  everything  I 
abhorred  in  life."  But  the  experience  also  helped  him  to  figure 
out  what  he  really  wanted  to  do.  Three  years  after  becoming  a 
partner  at  his  law  firm,  he  says,  "I  decided  that  now  that  I  had 
some  financial  stability,  I  needed  to  do  what  I  said  I  wanted  to 
do."  He  finished  shooting  Mitchellville — which  he  had  written 
as  a  novel  in  1994  and  had  been  crafting  into  a  screenplay  in  his 
after-work  time  since  2002.  Much  of  the  film  was  shot  after 
Harkrider  got  done  at  the  law  firm,  meaning  that  he  sometimes 
logged  as  many  as  22  hours  of  work  per  day.  He  sunk  his  life's 
savings  into  the  film,  and  while  he  would  never  again  use  his 
own  money  on  a  film,  he  also  "wants  nothing  more  than  to 
make  [another]  film."  The  bruising  experience  taught  Harkrider 
a  valuable  lesson.  In  an  email,  he  writes,  "I  think  the  day  job 
made  me  appreciate  compromise." 

And  there,  perhaps,  is  the  most  profound  fringe  benefit  a  job 
can  offer.  Day  jobs  leech  energy  and  bifurcate  mindsets.  They 
can  be  maddening  and  require  far  more  exposure  to  fluorescent 
lighting  than  anyone  should  have  to  bear.  But  they're  necessary. 
"As  an  adult,  this  is  just  life,"  Kate  Bernstein  says.  "I  need  to 
work,  make  money,  and  survive."  By  providing  an  opposition 
against  which  to  exert  creative  energy,  day  jobs  also  inevitably 
force  upon  the  artists  who  work  them  a  more  nuanced  perspec- 
tive on  the  relationship  between  the  twin  halves  of  their  lives. 

"The  hope  is  always  that  someday,  something  you  make  will 
catch  and  make  it  possible  for  your  work  to  become  self-sustain- 
ing," says  Jason  Rayles.  But  until  that  happens,  he  says,  "the  good 
part  about  having  a  day  job  is  that  it  enables  you  to  do  your  work 
without  making  compromises  just  so  you  can  eat  lunch  tomor- 
row." Wallace  Stevens  couldn't  have  put  it  any  better.  ~k 


May  2005  I  The  Independent    39 


t>  Effi  e 

brown 

SUPER  PRODUCER  BUSTS  OUT  ON  HER  OWN- 


OPRAH  STYLE 


BY  KATE  BERNSTEIN 

"A  hybrid  of  a  hippie  commune  and  capitalism,"  is  how 
revered  indie  film  producer  Effie  Brown  describes  the  goal  of 
her  new  production  company,  Duly  Noted.  "A  safe  place 
where  filmmakers  will  be  able  to  go  and  create,  know  they're 
not  going  to  get  screwed  over,  and  at  the  end  of  the  day  be 
prosperous." 

In  a  time  and  economic  climate  when  other  independent 
production  companies  are  closing  their  doors,  and  wings  ol 
the  major  studios  increasingly  make  "independent"  films, 
starting  a  production  company  is  a  bold  move.  Yet,  Duly 
Noted  is  kicking  off  its  first  year  with  eight  films  on  its  slate, 
half  of  which  have  already  either  secured  financing  or  appear 
close  to  doing  so  as  of  this  writing.  Brown  took  a  year  off  pro- 
ducing to  find  and  develop  the  eight  diverse  projects  Duly 
Noted  will  launch  and  is  confident  that  she'll  be  able  to  add  a 
new  project  every  time  one  of  the  films  completes  production. 

Duly  Noted  has  been  a  long  time  in  the  mind  of  Brown, 
who  has  been  dreaming  and  talking  about  having  a  produc- 
tion company  of  her  own  for  years.  And  the  name  Duly  Noted 
is  apropos  of  an  even  longer  struggle  the  producer  has  had  in 
the  film  industry.  It's  a  phrase  she  co-opted  from  her  days  as  a 
production  assistant.  "Duly  noted  is  what  I  call  an  exclama- 
tion point  on  a  statement — it  could  mean  a  whole  bunch  of 
things,"  she  says.  "I  had  bosses  back  in  the  day  who  told  me 


to  do  stuff  and  I  couldn't  say  what  I  really  wanted  to  say  and 
I  really  couldn't  argue,  so  I  would  just  say  'duly  noted.'  It  does- 
n't mean  that  I  agree  or  disagree." 

It's  no  surprise  that  Brown  wants  to  keep  the  memory  of 
sweeping  up  cigarette  butts  on  set  in  the  forefront  of  her  com- 
pany's identity  as  she  sets  out  to  help  aspiring  filmmakers 
make  their  movies.  Brown  arrived  in  Los  Angeles  with 
absolutely  no  connections  to  the  film  world.  "I  was  just  a 
black  girl  from  New  Jersey,  the  only  person  I  knew  who  ever 
went  into  film.  My  family  back  East  were  like,  'you're  going  to 
LA  to  go  to  film  school?  Are  you  high?'" 

But  Brown  attended  the  film  program  at  Loyola 
Marymount  University  very  clearheaded.  And  she  took  with 
her  lessons  she  learned  from  her  family.  An  army  brat,  Brown 
grew  up  with  the  conviction  that  failure  was  not  an  option — 
she  would  go  full  force  and  with  all  her  heart.  She  also  knew 
she  couldn't  afford  to  be  a  late  bloomer.  So  once  in 
Tinseltown,  Brown  called  the  Black  Business  Bureau  and  told 
the  operator  she  wanted  to  work  on  a  black  film.  "It  was  very 
ghetto  fabulous,"  she  remembers  fondly.  "The  operator  put 
me  in  touch  with  her  cousin  and  her  cousin,  called  someone." 
Brown  scored  her  first  job  as  an  intern  on  Robert  Townsend's 
The  Five  Heartbeats  (1991),  and  her  days  of  sweeping  cigarette 
butts  began. 


40  The  Independent  I  May  2005 


Brown  on  the  set  of  Un  Dia  en  la  Vida  with  director  Marco  Orsini  (Joseph  Pier) 


But  what  really  gave  Brown  her  big  break  was  participating 
in  IFP's  first  year  of  Project  Involve,  where  women  of  color 
were  introduced  to  people  in  the  film  industry  through  a  men- 
toring partner.  There,  Brown  met  producer  Laurie  Parker 
{Drugstore  Cowboy,  My  Own  Private  Idaho,  and  music  super- 
visor on  We  Don't  Live  Here  Anymore),  whom  she  is  still  work- 
ing with  years  later.  Despite  a  potentially  bumpy  start,  Parker 
went  on  to  open  many  doors  for  Brown.  She  says:  "In  my  first 
interview  with  Laurie  Parker,  I  was  so  arrogant,  I  said  some- 
thing stupid  like  'I'm  going  to  be  as  big  as  Oprah.'  Thank  god 
she  thought  it  was  cute." 

While  Brown  hasn't  exactly  reached  the  billion-dollar  mark 
quite  yet,  she  did  rise  up  in  the  ranks  astonishingly  quickly.  By 
her  early  20s,  she  was  the  director  of  development  for  Tim 
Burton's  production  company,  living  large  in  a  corner  office 
and  having  loads  of  creative  control — while  also  producing 
short  films  and  gaining  production  experience.  When  every- 
one was  laid  off  from  Burton's  company,  however,  Brown 
learned  an  even  more  important  film  industry  lesson.  "When 
I  lost  my  job,  I  found  out  all  those  people  I  thought  were  my 


friends,  weren't,"  she  said.  "They  didn't  return  my  phone  calls. 
I  thought  those  were  only  stories  you  heard.  So  you  learn  to 
keep  your  true  friends  really  close." 

Fortunately,  Brown  had  more  than  a  few  of  those,  including 
Parker,  and  with  her  newfound  experience,  she  started  line 
producing.  Her  first  film  as  a  line  producer  was  Spark  (1998), 
directed  by  Garret  Williams,  and  she  quickly  moved  on  to 
higher  profile  projects  like  Morgan  J.  Freeman's  Desert  Blue 
(1998),  starring  Christina  Ricci  and  Kate  Hudson,  Speedway 
Junkie  (1999),  But  I'm  a  Cheerleader  (1999),  and  Things  You 
Can  Tell  Just  By  Looking  at  Her  (2000)  starring  Glenn  Close 
and  Cameron  Diaz. 

"I  had  to  be  really  aggressive  and  take  the  impossible  jobs 
that  no  one  else  wanted,"  Brown  says.  "When  I  started  line 
producing,  I'm  sure  I  was  the  last  person  on  everyone's  list. 
Thank  God  it  turned  out  okay  and  I  could  move  on.  You  work 
your  way  up  and  build  a  reputation." 

Her  first  turn  as  a  producer  came  when  director  Jim  McKay 
approached  her  to  co-produce  Cheryl  Dunye's  Stranger  Inside 
(2001).  Very  simply,  McKay  brought  Brown  onto  the  project 


May  2005  I  The  Independent     41 


(directed  by  McKay)  from  never  seeing  celluloid  light. 
"[Effie]  came  in  and  did  a  couple  of  things  that  were 
really  important,"  George  says.  "She  was  able  to  go 
through  the  budget  and  find  areas  of  concern  that  we 
hadn't  dealt  with.  And  she  bought  drinks  for  the  entire 
crew  and  made  everyone  feel  a  part  of  the  production." 
McKay  concurs.  "When  I  got  on  set  with  Effie  on 
Everyday  People,  I  had  this  shocking  realization  of  how 
wonderful  it  was  to  simply  direct,  to  trust  and  know 
that  someone  else  was  worrying  about  everything  else," 
he  says. 

Both  George  and  McKay  believe  that  the  respect  and 
awe  the  independent  film  community  has  for  Brown 
ensures  her  company  will  succeed.  "She  is  a  force  of 
nature,"  George  says,  "and  in  a  position  to  be  a  real 
major  factor  in  independent  American  filmmaking." 
McKay  adds,  "Basically,  Effie  gets  the  job  done,  and 
then  some.  She  is  responsible  and  honest  when  it  comes 
to  dealing  with  the  financiers,  and  she  is  protective  and 
supportive  with  her  directors." 

Indeed,  starting  a  production  company  was  the  obvi- 
ous next  step  for  Brown's  career.  "As  a  producer  you  feel 
more  like  a  hired  gun,"  she  says.  "I  wanted  something 
that  I  was  a  part  of  from  conception — you  find  a  writer 
and  a  director  and  do  the  script  work  and  develop  it 
together."  But  Brown  also  had  a  much  bolder  reason  for 
starting  her  own  company. 

"I  went  into  film  because  I  was  incredibly  angry,"  she 
says.  "I  was  incredibly  angry  that  I  never  got  to  see 
someone  like  me,  a  person  of  color,  on  film.  I  didn't 
really  see  anyone  who  was  different  or  any  different 
because  he  knew  she  could  do  it.  "Until  that  point,  Effie  had  story  lines.  That  pissed  me  off.  So  what  I  wanted  to  do  was 
been  line  producing  and  I  felt  that  she  was  ready  to  get  bring  those  types  of  stories  to  the  screen.  I  was  able  to  find 
involved  more  on  the  creative  level  and  have  more  responsi-  people  who  had  the  same  sort  of  good  taste  and  had  the  same 
bility  overall,"  McKay  says.  "And  I've  got  many,  many  weak-  idea  that  films  can  be  used  to  protest,  as  well  as  to  educate,  as 
nesses  [as  a]  producer,  many  of  which  were,  conveniently,  well  as  to  entertain.  And  that's  what  I'm  trying  to  do." 
strong  points  of  hers.  So  it  was  a  great  match."  And  for  Brown,  it's  important  for  Duly  Noted  to  bring 

Through  Stranger  Inside,  Brown  developed  a  relationship  together  an  eclectic  group  of  films  and  filmmakers.  Her  plat- 
with  HBO  Films,  and  went  on  to  produce  a  few  more  films  form  is  diversity,  and  she  doesn't  want  to  get  pigeonholed  into 
with  them,  including  Real  Women  Have  Curves  (2002).  And  doing  any  one  sort  of  genre  or  issue.  "I  don't  believe  in  stereo- 
then  in  2003,  she  rejoined  with  mentor  Laurie  Parker  to  pro-  typing  myself,"  she  says.  "I  won't  only  do  films  [about]  people 
duce  Jane  Campion's  high  profile  In  the  Cut,  starring  Meg  of  color,  and  I  won't  only  work  with  people  of  color  or 
Ryan.  women.  That  makes  no  sense  to  me.  I  do  good  movies.  I  do 

It's  an  impressive  roster  for  a  33-year-old  black  woman  with  stories  that  are  compelling,  things  that  engage  me.  Because  I'm 
few  role  models  to  call  her  own.  What  makes  her  so  success-  black  and  a  woman,  I'm  sure  there  is  subject  matter  I  can  real- 
ful?  According  to  Everyday  People's  executive  producer,  Nelson  ly  identify  with  and  that's  one  thing,  but  I  refuse  to  put  myself 
George,  Brown  has  unique  characteristics  that  make  her  an       in  the  hole." 

exceptional  producer.  "Number  one,  she  has  a  fantastic  per-  And  certainly,  the  eight  films  that  Duly  Noted  has  on  its 

sonality.  She  is  able  to  draw  people  in  and  instill  a  sense  of  debut  slate  reflect  exactly  that  kind  of  diversity.  They  are: 
confidence  in  the  production,"  George  says.  "Number  two,  Polish  Bar,  by  Ben  Berkowitz  and  Ben  Redgrave,  about  a 
she  really  knows  the  nuts  and  bolts  of  filmmaking  fantastical-  young  middle-class  Jew  who  leaves  his  family  jewelry  business 
ly  well.  So  she  has  great  spirit  and  energy,  and  she's  also  total-  to  become  a  hip-hop  DJ  at  a  local  Polish  gangsta-run  strip 
ly  on  top  of  the  fundamentals  of  filmmaking — it's  an  amazing  club;  Bobby  Zero,  by  Markus  and  Mason  Canter,  about  broke 
combination."  and  jobless  30-year-old  artists  and  musicians  dealing  with  love 

It  was  this  winning  combination  that  saved  Everyday  People      and  life;  American   Way,   by  Marco  Orsini,   about  a  Puerto 


Brown  on  the  set  of  Everyday  People  (courtesy  of  Wellington  Love) 


42  The  Independent  I   May  2005 


Rican  family  that  arrives  in  the  American  South  determined  to 
assimilate  and  succeed;  My  Place  in  the  Horror,  a  horror  genre 
flick  by  Robert  O'hara  set  in  a  typical  remote  location  but 
with  an  atypical  all-black  cast;  Exactly  Like  You,  by  Silas 
Howard,  about  a  mans  pursuit  of  women,  music,  and  fame  all 
while  hiding  he  was  actually  born  a  woman;  Powder  Blue, 
about  a  group  of  people  looking  for  redemption,  connection, 
and  faith  in  Los  Angeles;  Rocket  Science,  by  Jeff  Blitz  (who  was 
nominated  for  an  Oscar  for  Spellbound),  about  a  high  school 
boy  who  goes  into  the  competitive  world  of  debate  despite  his 
stutter;  and  Strangers  in  the  Snow,  by  Zackary  Dean,  a  violent 
and  suspenseful  thriller  about  a  family  that  must  run  for  their 
lives  during  a  Thanksgiving  celebration. 

Of  course,  Browns  identity  as  a  woman  of  color  feeds  her 
compassion  for  all  sorts  of  subject  matter  that  other  producers 
might  not  have.  "Being  who  I  am  makes  me  a  little  more  sen- 
sitive," she  says.  And  the  same  identity  also  gets  her  noticed 
more  than  some  other  producers  might  be.  "Being  a  black 
woman  with  red  hair  also  makes  me  stand  out  a  little  bit,"  she 
says  with  a  laugh. 

But  it  is  purely  her  film  prowess  that  got  her  a  first-look 
deal,  support  from  HBO  Films,  and  a  solid  starting  ground  to 
get  her  films  made.  Yet  Brown  is  fiercely  independent,  making 
sure  that  no  one  owns  any  part  of  her  company,  ensuring  she 
has  the  option  to  search  for  funds  anywhere.  "I  want  to  be  able 
to  go  everywhere,"  she  says.  "There's  a  lot  of  places  to  go  and 
get  money.  I'm  not  opposed  to  going  to  a  studio  arm  to  get 
money.  I'm  all  for  that.  I'm  all  for  the  billionaire.  If  he  or  she 
wants  to  invest  in  film,  excellent.  I'll  do  a  co-production.  I 
want  to  be  able  to  go  anywhere  that's  the  best  place  to  serve 
my  film.  Be  fluid  and  go  wherever  I  need  to." 

What  is  equally  important  to  Brown,  however,  is  that  she 
also  hasn't  forgotten  her  roots  and  makes  giving  back  a  top 
priority.  Over  a  decade  after  her  own  experience  with  the 
organization,  she's  back  to  working  with  IFP's  Project  Involve. 
Only  this  time,  she's  a  mentor.  "It's  a  cutthroat  industry,  but 
there's  room  for  everybody  and  I  would  love  to  foster  that," 
she  says.  "That's  how  I  made  it.  If  it  weren't  for  that  mentor- 
ship  there  would  be  no  one  looking  out  for  me,"  That  chari- 
table spark  sounds  a  little  like  Oprah. 

And  as  for  that  big-as-Oprah  prediction?  "You're  not  going 
to  be  buying  your  Jaguar  or  your  Beamer  in  the  independent 
film  business,  but  you  might  be  able  to  buy  a  nice  pair  of 
shoes,"  Brown  says.  "And  I  don't  want  to  do  anything  else.  I'm 
not  complaining.  I  can  go  out  to  eat.  I  can  take  my  friends  out 
to  dinner.  I'm  good.  I've  always  been  about  the  base  needs. 
Can  you  pay  your  rent?  Yeah.  Can  you  go  see  a  movie?  Good. 
Can  you  buy  a  drink?  Great.  That's  all  you  really  need.  Cause 
I  do  my  own  hair  so  it's  totally  fine.  I  dye  my  hair,  let  it  nap 
up,  and  call  it  a  day."  ~k 


Brown  and  George  Lavoo  on  the  set  of  Real  Women  Have 

Curves  (Nicola  Goode/HBO) 


A  Duly  Noted  inc  project  slated  for  next  year 
(lllusiontank.com) 


One  of  Duly  Noted  Inc's  new  projects 
(Silas  Howard/Rebbeca  Rosenthal) 


May  2005  I  The  Independent    43 


LEGAL 


Who  owns  the  copyright  in  a 
screenplay  when  the  author 
works  with  a  screenwriter  to 
help  the  author  rewrite  and  develop  the 
storyline?  Can  a  singer/songwriter  fea- 
tured in  a  music  video  or  documentary 
directed,  produced,  and  edited  by  the 
filmmaker  claim  co-ownership  in  the 
copyright  to  the  video?  How  about  the 
consultant  who's  hired  to  help  an  actor 
with  his  role,  but  then  also  makes  addi- 
tional contributions  during  principal 
photography  and  post-production?  These 
collaboration  scenarios  involve  occasion- 
ally tricky  issues  regarding  copyright  law 
and  joint  authorship. 

Most  screenwriters  or  filmmakers  have 
a  basic  understanding  of  what  copyright 
is:  protection  of  an  author's  original  mate- 
rial. This  protection  is  automatic  from  the 
moment  the  material  is  created,  and  gives 
the  author/creator  (or  other  person  who 
has  acquired  ownership)  certain  exclusive 
rights  to  exploit  the  material  (make  copies, 
distribute,  publicly  perform,  and  adapt). 
As  the  copyright  owner,  you  also  have  the 
right  to  stop  others  from  exercising  those 
rights.  Generally  speaking,  when  someone 
other  than  the  owner  uses  the  material 
without  permission  (or  in  other  words, 
violates  any  one  of  your  exclusive  rights), 
copyright  infringement  occurs — unless 
that  someone  is  a  joint  author  (sometimes 
referred  to  as  a  co-author)  of  the  material. 
For  copyright  purposes,  joint  author- 
ship is  the  process  by  which  two  or  more 
individuals  combine  their  efforts  to  cre- 
ate a  joint  work.  The  co-authors  are  also 


Joint 
Copyrignt 
Scenarios 

The  logistics  of 
co-author  vsjP 
co-collaborat 

By  Fernando  Ramir. 


co-owners  of  the  copyright  in  the  materi- 
al created,  which  just  as  one  might 
assume,  provides  them  with  equal  owner- 
ship of  the  material.  In  other  words, 
unless  there  is  an  agreement  stipulating 
otherwise,  each  joint  author  has  the  right 
to  use,  license,  or  otherwise  exploit  the 
material  as  he  or  she  wishes  without  the 
other  joint  owner's  consent,  and  with 
only  the  obligation  to  the  share  profits,  if 
any,  with  the  other  joint  owner. 

Given  the  high  stakes  of  the  multi-bil- 
lion dollar  a  year  film  and  television 
industry,  where  any  given  script  or  film 
can  carry  with  it  significant  financial  and 
career  success,  establishing  sole  (as 
opposed  to  co-)  ownership  of  a  script  or 
film  from  the  start  is,  to  say  the  least, 
rather  important.  This  is  especially  true 
because  collaborating  on  the  scriptwrit- 
ing  or  film  production  process  does  not 
always  amount  to  co-authorship  and  co- 
ownership  for  copyright  purposes.  To 
bring  to  life  these  issues,  the  following  are 
some  illustrations  of  joint  authorship  dis- 
putes. In  none  of  these  scenarios  did  any 
of  the  parties  have  a  written  agreement 
specifying  their  rights  or  credit. 

Scenario  One 

Lynn,  the  author  of  an  original  screen- 
play, asks  Tom,  a  screenwriter,  to  help  her 
rewrite  and  develop  the  storyline  of  her 
screenplay.  After  a  few  rewrites,  a  film 
based  entirely  on  the  final  draft  is  pro- 
duced and  distributed  with  box  office 
success.  Tom  then  decides  to  sue  Lynn, 
claiming  that  his  collaborative  contribu- 


tions (developing  the  plot  and  theme, 
creating  most  of  character  elements,  and 
writing  a  significant  portion  of  the  dia- 
logue) make  him  a  co-author  of  the 
screenplay.  Is  Tom  a  co-author?  If  in  this 
instance  Lynn  kept  sole  decision-making 
authority  as  to  what  went  into  the 
screenplay  (including  final  approval  over 
all  changes),  if  she  retained  the  exclusive 
right  to  enter  into  agreements  regarding 
use  of  the  screenplay  without  Tom's  con- 
sent, and  if  billing  and  credit  on  all  mate- 
rials indicated  "Original  Screenplay,  by 
Lynn,"  then  chances  are  Tom,  although 
collaborating  with  Lynn,  is  not  a  co- 
author of  the  screenplay. 

Scenario  Two 

Jonathan,  a  filmmaker,  produces  a 
music  video/documentary  called 
"Marked"  for  singer/songwriter  Billy. 
Billy  later  signs  to  a  new  label  that  releas- 
es a  music  video  called  "Vieuphoria"  con- 
taining short  clips  taken  from  the 
"Marked"  video  produced  by  Jonathan. 
Jonathan  sues  Billy  for  copyright 
infringement,  claiming  that  because  he 
produced  the  video  and  kept  possession 
of  the  master,  that  he  was  the  sole  copy- 
right owner.  Billy  argues  that  he  had 
every  right  to  use  the  clips  because  as  the 
featured  artist,  he  was  a  joint  author  of 
the  video.  Who  owns  the  copyright?  Both 
Jonathan  and  Billy  are  co-owners  and 
joint  authors  of  the  "Marked"  video 
because  in  this  case,  each  person's  collab- 
orative contributions  are  what  made  the 
music  video/documentary. 

Scenario  Three 

Mr.  Washington,  an  actor,  engages  Mr. 
Jeffries,  a  historian/documentary  film- 
maker, to  help  him  prepare  for  his  star- 
ring role  as  a  renowned  historical  figure 
in  a  movie.  In  addition  to  helping  the 
actor  authenticate  his  role,  Mr.  Jeffries 
makes  various  contributions  to  the  mak- 
ing of  the  movie,  including  reviewing 
and  revising  the  shooting  script,  occa- 
sionally directing  Mr.  Washington  and 
other  actors  while  on  the  set,  and  editing 
parts  of  the  movie.  If  Mr.  Jeffries  is  cred- 
ited as  a  "Technical  History  Consultant," 
can  he  successfully  claim  that  based  on 
his  extensive  contributions  he  is  entitled 


44  The  Independent  I  May  2005 


to  co-ownership  of  the  copyright  in  the 
movie?  Probably  not,  unless  Mr.  Jeffries 
could  establish  that  he  had  artistic  control 
over  the  production  process  in  the  same 
capacity  as  a  producer  or  director. 

Anyone  engaged  in  collaboration 
arrangements  should  clearly  spell  out 
duties,  rights,  and  credit,  so  as  to  avoid  or 
mitigate  authorship  or  ownership  dis- 
putes. The  following  are  some  pointers 
that  screenwriters  and  filmmakers  should 
bear  in  mind  when  embarking  on  a  col- 
laborative screenwriting  or  video/film- 
making process: 

Writer  or  other  agreements  (co-produc- 
er, director)  should  stipulate  that  any  and 
all  changes  incorporated  into  the  material 
(script/film)  are  the  property  of  the  indi- 
vidual or  company  doing  the  hiring. 

All  billing  and  credit  should  clearly 
indicate  authorship  ("Screenplay  by  John 
Doe"  or  "Film  by  John  Doe"). 

Filmmakers,  especially  music  video 
producers  or  documentary  filmmakers 
with  subjects  involving  singers,  should 
never  assume  that  they  will  be  the  sole 
author  for  copyright  purposes  of  the  film 
or  video  created. 

Mere  possession  or  ownership  of  reels 
or  master  videotapes  does  not  translate 
into  copyright  ownership. 

Any  screenwriter  or  producer  looking 
to  retain  full  copyright  ownership  should 
clearly  stipulate  in  writing  that  they  have 
sole  decision-making  authority  (selling, 
licensing,  and  optioning),  and  full  artistic 
control  (final  approval  over  all  script 
changes  or  scenes  in  the  final  print). 

Never  assume  collaboration  will  always 
mean  joint  authorship. 

Spelling  out  such  terms  is  not  a  guar- 
antee that  a  screenwriter  or  filmmaker 
won't  encounter  some  uninvited  owner- 
ship claims.  In  fact,  the  three  scenarios 
provided  are  from  actual  joint  authorship 
disputes  that  went  to  litigation.  At  the 
very  least,  having  clear  agreements  can 
help  establish  whether  co-ownership  was 
what  the  parties  actually  had  in  mind 
when  they  began  collaborating  and  could 
even  play  a  role  in  deterring  wrongful  or 
misguided  claims  of  ownership,  including 
costly  litigation.  ~k 


TARTAN    VIDEO    PRESENTS 


(ik-streem)  adj.  1.  Extending  far 

beyond  the  norm;  2.  Of  the  greatest 

severity,  drastic;  3.  The  greatest 

or  utmost  degree  or  point. 


-awns****"** 


Asia  Extreme 

(A-zha  ik-streem) 

n.  The  most  daring 

and* cutting-edge  horror,  thriller  and 

action  films  from  Japan,  Korea,  Hong 

Kong  and  around  the  world. 


www.tartanvideousa.com 

©  2005  Tartan  Video.  All  rights  reserved. 


ASIA 

EXTREME 


May  2005  I  The  Independent    45 


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DOMESTIC 

ACTION/CUT  SHORT  FILM  FESTIVAL,  Aug   29- 

Sept.  1,  CA.  Deadline:  March  15;  May  15. 
Cats:  short,  any  style  or  genre.  Awards: 
$35,000  in  cash  &  services.  Preview  on  DVD 
or  VHS.  Entry  Fee:  $40-$85.  Contact: 
Action/Cut  Filmmaking  Seminars;  filmmak 
mg@actioncut.com;  www.actioncut.com. 

ALL  ROADS  FILM  FESTIVAL,  Sept. -Nov., 
CA/DC.  Deadline:  May  7.  A  multimedia  test  & 
grants  program  created  to  provide  a  platform 
for  indigenous  &  under-represented  minority- 
culture  storytellers.  Cats:  feature,  doc,  short, 
animation,  music  video.  Awards:  Audience 
Awards  in  each  category.  Formats:  70mm, 
35mm,  16mm,  Beta,  DigiBeta,  Mini-DV. 
Preview  on  VHS  or  DVD.  Entry  Fee:  None. 
Contact:  All  Roads  Film  Project;  (202)  857- 
7692;  allroads@ngs.org;  www.nat'lgeograph 
ic.com/allroads. 

BIG  BEAR  LAKE  INTLFILM  FESTIVAL,  Sept  16- 
18,  CA.  Deadline:  March  1;  April  8  (final 
scripts);  June  20  (final).  This  year's  cultural 
event  will  showcase  German  cinema.  The 
fest  is  located  in  Big  Bear  Lake,  California, 
nestled  in  the  San  Bernardino  Nat'l  Forest, 
just  two  hours  outside  of  Los  Angeles.  Cats: 
feature,  student,  short,  script,  doc,  family. 
Preview  on  VHS  or  DVD.  Entry  Fee:  $35-$45. 
Contact:  Monika  Skerbelis,  Festival  & 
Programming  Director;  (909)  866-3433;  fax: 
same;  bigbearfilmfest@aol.com;  www.big 
bearlakefilmfestival.com. 

BOSTON  JEWISH  FILM  FESTIVAL,  Nov  2-13, 
MA.  Deadline:  May  1;  May  20  (final).  Fest  is  a 
non  competitive  event.  Fest  screens  films  & 
videos  that  highlight  the  Jewish  experience; 


deal  w/  themes  of  Jewish  culture 
/heritage/history;  or  are  of  particular  interest  to 
the  Jewish  community.  Projects  can  be  of  any 
length.  Films  must  not  have  previously 
screened  in  Massachusetts.  Founded:  1989. 
Cats:  feature,  experimental,  animation,  doc. 
Awards:  Audience  choice  awards.  Formats: 
Beta  SP,  35mm,  16mm,  DVD.  Preview  on 
VHS.  Entry  Fee:  $15;  $25  (final)-  no  fees  for 
int'l  submissions.  Contact:  Festival;  (617)  244- 
9899;  fax:  244-9894;  programmmg@bjff.org; 
www.b|ff.org. 

BRONX  INDEPENDENT  FILM  FESTIVAL,  June  5- 
9,  NY.  Deadline:  May  2;  May  16  (final). 
Presented  by  Bronx  Stage  &  Film  Company, 
fest  seeks  not  commercially  exhibited  prior  to 
fest  dates.  Cats:  feature,  doc,  short,  anima- 
tion, experimental.  Formats:  DV  Preview  on 
VHS  or  DVD.  Entry  Fee:  $10-$20.  Contact: 
film@bronxstage.com;  www.bronxstage.com. 

CHICAGO  INT'L  CHILDREN'S  FILM  FESTIVAL 

Oct.  27-Nov.  6,  IL.  Deadline:  May  1;  May  31 
(final).  The  CICFF  is  the  largest  competitive 
fest  for  films  &  videos  for  children  in  North 
America,  &  programs  over  200  films  &  videos 
from  43  countries  targeted  primarily  for  chil- 
dren ages  3-14.  Entries  must  have  copyright 
date  of  previous  two  years  or  later.  Fest  pres- 
ents films  in  contexts  which  encourage  dia- 
logue between  filmmakers,  children,  parents 
&  educators.  Goal  is  the  sustenance  &  nurture 
of  positive  images  for  children.  Fest  is  the 
only  children's  film  fest  selected  to  be  an 
Academy  Award®  Qualifying  Festival. 
Founded:  1984.  Cats:  children,  adult  Produced 
Feature,  short,  TV,  animation,  child-produced 
work  (ages  3-13),  youth  media,  family,  fea- 
ture, doc.  Awards:  Best  of  Fest  Prize; 
Montgomery  Jury  Prize,  Adult  &  child:   Liv 


Ullmann  Peace  Prize  &  Rights  of  the  Child 
Prize  ($2,500-$500),  in  addition  to  1st,  2nd  & 
Certificates  in  all  submission  cats  from  Adult 
&  Children's  Juries.  Formats:  35mm,  16mm, 
Beta  SP.  Preview  on  VHS  (PAL  or  NTSC)  or 
DVD.  Entry  Fee:  $40/$50  (final)  Short  (Less 
than  60  mins.);  $80/$90  (final)  Feature(60 
mins.  or  more);  no  fee  for  child-produced  films 
(age  3-13).  Contact:  CICFF;  (773)  281-9075;  fax: 
same;  kidsfest@facets.org;  www.cicff.org. 

CHICKS  W/  FLICKS  FILM  &  VIDEO  FESTIVAL 

Aug.,  NY.  Deadline:  June  3.  Fest  is  a  one-day 
film  event  in  NYC  that  showcases  the  works 
of  independent  women  filmmakers.  The  goal 
of  the  fest  is  to  encourage,  support  &  foster 
indie  filmmaking  as  well  as  generate  an  audi- 
ence &  supportive  following  for  women  film- 
makers. Films  must  be  20  mm.  or  less. 
Founded:  1999.  Cats:  any  style  or  genre, 
short,  doc,  animation,  experimental.  Formats: 
35mm,  16mm,  1/2".  Preview  on  VHS.  Entry 
Fee:  $10.  Contact:  Yhane  Smith;  (212)  926- 
8894;  yhane@chicksw/flicks.org;  www.chick 
sw/flicks.org. 

CONEY  ISLAND  FILM  FESTIVAL,  Sept  30  Oct 
2,  NY.  Deadline:  May  6;  July  1  (final).  Fest's 
mission  is  to  raise  funds  for  the  non-profit  arts 
organization  Coney  Island  USA  &  to  present  a 
fun  &  unique  program  of  films  at  the  leg- 
endary Sideshows  by  the  Seashore  &  Coney 
Island  Museum  venues.  Cats:  feature,  doc, 
short,  animation,  experimental,  music  video. 
Formats:  DV,  16mm,  Super  8,  35mm.  Preview 
on  VHS,  DVD  or  Mini-DV.  Entry  Fee:  $20;  $25 
(final).  Contact:  Festival;  info@coneyisland 
filmfestival.com;  www.coneyislandfilmfesti 
val.com. 

DC  ASIAN  PACIFIC  AMERICAN  FILM  FESTIVAL, 


46  The  Independent  I   May  2005 


Oct.  6-15,  DC.  Deadline:  April  1;  May  1  (final). 
The  test's  mission  is  to  "bring  attention  to  the 
creative  output  from  APA  communities  & 
encourage  the  artistic  development  of  APA 
films  in  the  greater  Washington  DC  metropol- 
itan region."  The  screenings  are  held  at  the 
Smithsonian  Institution's  Freer  Gallery  of  Art's 
Meyer  Auditorium,  the  Hirshhorn  Museum  & 
Sculpture,  the  Canadian  Embassy,  &  other 
venues.  Founded:  2000.  Cats:  feature,  doc, 
short,  experimental,  animation.  Formats: 
16mm,  35mm,  Betacam.  Preview  on  VHS 
(NTSC)  or  DVD.  Entry  Fee:  $10  (shorts  &  fea- 
tures); $20  (final).  Contact:  Festival; 
gene@apafilm.org;  www.apafilm.org. 

D0CSIDE  FILM  FESTIVAL,  Sept.,  TX.  Deadline 
June  15.  Fest  is  organized  by  the  Doc  Film 
Project,  &  is  the  only  documentary  film  fest  in 
Texas.  Fest's  objective  is  to  showcase  the 
best  documentaries  from  Texas,  the  US,  & 
the  world,  w/  the  purpose  to  form  alliances  w/ 
other  film  organizations  &  media  groups.  Grad 
film  students  encouraged  to  send  documen- 
taries. Founded:  1999.  Cats:  short  Doc,  fea- 
ture Doc,  experimental  Doc,  .  Formats:  S- 
VHS,  Beta  SP,  DigiBeta,  DVD.  Preview  on 
DVD.  Entry  Fee:  $35.  Contact:  Doc  Film 
Project,  attn:  Lucila  Betz;  (573)  356-0634;  doc- 
filmproject@yahoo.com;  www.docfilmpro 
ject.homestead.com. 

ECHO  PARK  HUMAN  RIGHTS  FILM  FESTIVAL, 

Oct.  21-23,  CA.  Deadline:  May  1.  Annual  fest 
is  seeking  films  dealing  w/  human  rights  or 
mt'l  relations  issues.  Cats:  feature,  doc,  short, 
any  style  or  genre.  Awards:  honorarium 
awarded.  Formats:  DV,  16mm,  Mmi-DV,  1/2", 
DVD.  Preview  on  VHS  or  DVD.  Entry  Fee 
None.  Contact:  Echo  Park  Film  Center 
(213)484-8846;  paolofilm@hotmail.com 
www.echoparkfilmcenter.org. 

EUREKA  INT'L  FILM  FESTIVAL,  Oct  22-30,  NY 
Deadline:  May  20;  June  17.  Festival  showcas- 
es political  &  socially  conscious  films  by  film- 
makers from  all  over  the  world,  presenting 
views  that  span  the  political  spectrum.  Fest 
celebrates  the  "freedom  of  expression"  &  will 
feature  documentaries,  fictional  works,  ani- 
mations &  political  humor.  Founded:  2005. 
Cats:  feature,  doc,  animation,  short.  Formats: 
16mm,  35mm,  Beta  SP.  Preview  en  VHS  or 


DVD.  Entry  Fee:  $25  shorts;  $30  features. 
Contact:  Festival;  (212)  714-4617; 
mfo@eurekaiff.ocm;  www.eurekaiff.ocm. 

FIRSTGLANCE:  HOLLYWOOD  FILM  FESTIVAL, 

Dec,  CA.  Deadline:  June  15;  July  1  (final). 
Fest  encourages  both  student  &  professional 
film  &  videomakers  w/  all  budgets.  Festival's 
mission  is  to  exhibit  all  genres  of  work  (film, 
video  &  digital  productions)  from  mainstream 
to  controversial  in  a  competitive  casual  atmos- 
phere. Founded:  1999.  Cats:  feature,  doc,  stu- 
dent, short.  Awards:  Prize  packages  totaling 
over  $25,000.  Formats:  DVD,  DV,  8mm,  super 
8,  DigiBeta,  Beta  SR  Beta,  S-VHS,  1/2",  3/4", 
35mm,  16mm.  Preview  on  VHS  (NTSC)  & 
DVD.  Entry  Fee:  $30-$50.  Contact:  William 
Ostroff;  (818)  464-3544;  (215)  552-8566;  wro 
pro1@msn.com;  www.firstglancefilms.com. 

GOD  ON  FILM  FESTIVAL,  July  1 1 ,  NY  Deadline 
April  1;  May  15.  Fest  seeks  short  films  that 
explore  spiritual  themes  such  as  redemption, 
faith,  struggle,  &  the  supernatural.  Cash 
prizes  in  3  cats  (up  to  10  mm.,  up  to  15  mm., 
up  to  25  min.)  &  one  Best  of  Show  winner. 
Founded:  2004.  Cats:  short.  Formats:  Mini- 
DV,  DVD.  Preview  on  VHS  or  DVD.  Contact: 
Festival;  (212)  730-8300  x202;  fax:  (800)  863- 
1239;  info@godonfilm.com;  www.godon 
film.com. 

GREAT  PLAINS  FILM  FESTIVAL,  Aug   114,  NE 

Deadline:  June  .  Fest  is  a  biennial  regional 
venue  for  indie  film  &  video  artists  working  in 
the  US  &  Canada.  Open  to  film  &  videomak- 
ers either  from  the  Great  Plains  region,  or 
those  whose  film/video  realates  in  content  or 
in  narrative  to  the  Great  Plains.  Fest  provides 
a  forum  of  the  diversity  of  life  on  the  Great 
Plains  through  panel  discussions,  special 
appearances  &  tributes.  Cats:  feature,  doc, 
short,  animation,  experimental,  youth  media. 
Awards:  10  cash  prizes  ranging  from  $500- 
$3,000.  Formats:  35mm,  16mm,  S-VHS,  U- 
matic,  DVD,  DigiBeta,  1/2".  Preview  on  VHS. 
Entry  Fee:  $20  shorts; ;  $30  features.  Contact: 
Mary  Riepma  Ross  Film  Theater;  (402)  472- 
9100;  fax:  472-2576;  dladely1@unl.edu; 
www.theross.org. 

HEARTLAND  FILM  FESTIVAL,  Oct    13-21,  IN 

Deadline:   June    1.    Fest   seeks   features   & 


screenings 

workshops 

concerts 

panels 

parties 

commission  work 


entry  deadline 


may  2 
junel3 


festival  dates 


it  211 


sept  28 
oct  2 


PO  Box  1406, 86  Mill  Hill  Rd. 

Woodstock,  NY  12498 

(845)  679-4265 

woodstockfilmfestival.com 


presenting  sponsor 


rrr3T^^,-».com 


May  2005  I  The  Independent    47 


Full  Color  Printing   •  Since  1 948 
Packaging  &  Marketing  Printing 

2,500  Video  Boxes $495 

2,500  Flyers   $262 

500  DVD  Wrap  Labels $180 

1,000  4x6  Post  Cards $185 

1,000  11  x  17  Posters $460 

From  customer  files  -  Quark,  PDF,  Tiff,  JPEG 

other  items  and  quantities  available. 

See  our  Web  Site. 

Phone:  800  894-8977  Fax:  323  724-1896 

Email:  TuVets@aol.com      Web:  www.tu-vets.com 


The  AIVF  Guide  to 

Film  &  Video 
Distributors 

edited  by  Rania  Richardson 

What  You'll  Find: 

1  Up-to-date  profiles  of  close  to  200 
distributors,  supplemented  by  "how 
to"  articles,  selected  reprints  from 
The  Independent,  and  in-depth  inter- 
views with  over  20  distributors. 

■  Published  to  order,  ensuring  the  most 
current  information  that's  available. 


shorts  that  "explore  the  human  journey  by 
artistically  expressing  hope  &  respect  for  the 
positive  values  of  life."  Founded:  1991.  Cats: 
doc,  short,  feature,  animation,  experimental, 
student,  family,  children,  any  style  or  genre. 
Awards:  Prizes  totaling  $100,000;  $50,000 
grand  prize  for  dramatic  feature.  Formats: 
16mm,  35mm,  Beta,  Beta  SP,  DigiBeta. 
Preview  on  VHS  or  DVD.  Entry  Fee:  $20 
(under  50  mm.);  $55  (50  mm.  &  up);  $60  (final 
features);  $25  (final  shorts).  Contact:  Jeffrey 
L.  Sparks;  (317)  464-9405;  fax:  464-9409; 
info@heartlandfilmfestival.org;  www.  heart 
landfilmfestival.org. 

HIP-HOP  ODYSSEY  INT'L  FILM  FESTIVAL  (H20), 

Nov.  13-19,  NY.  Deadline:  June  1;  July  15 
(final).  Fest  showcases  "the  best  of  American 
&  Int'l  independent  Hip-Hop  cinema."  The 
fest's  mission  is  to  create  "cultural  sustain- 
ability  &  industry  longevity  by  supporting  the 
use  of  Hip-Hop  culture  as  a  tool  for  social 
awareness  &  youth  empowerment".  Cats: 
youth  media,  feature,  doc,  short,  animation, 
experimental,  PSA,  music  video.  Entry  Fee: 
$15-$30.  Contact:  Stacey  L'Air  Lee, 
Programming  Director;  (212)  500-5970;  fax: 
300-4895;  stacey@hiphopassociation.org; 
www.h2oiff.org. 

HOT  SPRINGS  DOC  FILM  FESTIVAL,  Oct  21-30, 
AR.  Deadline:  April  8;  May  20  (final).  Annual 
fest  accepting  nonfiction  film  submissions  for 
one  of  the  country's  premier  nonfiction  film 
celebrations.  Noncompetitive  fest  honors 
films  &  filmmakers  each  yr.  in  beautiful  Hot 
Springs  Nat'l  Park,  Arkansas.  More  than  85 
films  are  screened,  incl.  the  current  year's 
Academy  Award  nominees  in  nonfiction  cats. 
Special  guest  scholars,  filmmakers  &  celebri- 
ties participate  in  forums  &  lectures. 
Founded:  1992.  Cats:  doc.  Formats:  35mm, 
16mm,  1/2",  DVD,  Beta.  Preview  on  VHS  or 
DVD.  Entry  Fee:  $25-$55.  Contact:  Darla 
Dixon,  HSDFI;  (501)  321-4747;  fax:  (501)  321- 
0211;  ddixon@sdfi.org;  www.hsdfi.org. 

IFP  MARKET,  Sept.  18-23,  NY.  Deadline:  May 
2:  narrative  &  No  Borders  scripts,  works-m- 
progress  (doc  &  narrative),  shorts,  docs;  May 
16  (final):  shorts,  docs,  works-in-progress;  fea- 
tures. Annual  event  is  the  longest-running 
U.S.  market  devoted  to  new,  emerging  film 


talent.  The  market  presents  new  film  &  TV 
works  in  development  directly  to  the  industry. 
Hundreds  of  financiers,  distributors,  buyers, 
development  execs,  fest  programmers,  & 
agents  from  the  U.S.  &  abroad  attend  the  IFP 
Market.  Market  filmmakers  receive  access  to 
these  industry  executives  via  targeted  net- 
working meetings,  pitch  sessions,  screen- 
ings, &  more.  Cats:  feature,  doc,  work-in- 
progress,  short,  script.  Awards:  More  than 
$1 50,000  in  cash  &  prizes  awarded  to  emerg- 
ing artists,  incl.  two  $10,000  Gordon  Parks 
Awards  for  Emerging  African-American  film- 
makers. Formats:  35mm,  16mm,  Beta, 
DigiBeta,  .  Preview  on  VHS  or  DVD.  Entry 
Fee:  $40-$50  application  fee;  Registration 
fees  (paid  on  acceptance  only):  $200  -  $450. 
Contact:  Pooja  Kohli;  (212)  465-8200;  fax:  465- 
8525;  marketreg@ifp.org;  www.ifp.org  . 

LESBIAN  LOOKS,  Sept./Oct.,  AZ.  Deadline: 
June  15.  Fest  seeks  work  of  all  lengths.  Fee 
paid  for  all  works  screened.  Incl.  synopsis, 
brief  artist  bio  &  electronic  still(s)  w/  entry. 
Founded:  1993.  Cats:  short,  doc,  feature, 
experimental,  any  style  or  genre.  Formats: 
1/2",  DVD.  Preview  on  VHS  (NTSC  only). 
Entry  Fee:  $10.  Contact:  Beverly  Seckinger; 
(520)  621-1239;  fax:  621-9662;  bsecking 
@u. anzona.edu;  lgbcom.web.anzona.edu/lob 
bydoor.html. 

LONG  ISLAND  FILM  FESTIVAL,  June  21-23,  NY 
Deadline:  April  30;  May  31  (final).  Annual  com- 
petitive fest  screens  over  50  features  & 
shorts  submitted  from  around  the  world. 
Cats:  feature,  short,  doc,  student,  experimen- 
tal, animation.  Awards:  1st  prizes  presented  in 
all  cats  (film  &  video),  w/  cash  awards  TBA. 
Formats:  35mm,  16mm,  3/4",  1/2",  DVD. 
Preview  on  VHS.  Entry  Fee:  $25  (student;  0  to 
1 5  mm.);  $40  (1 5  to  30  mm.);  $60  (30-60  mm.); 
$75  (over  60  min.).  Contact:  Chris  Cooke; 
(631)  669-2717;  fax:  853-4888;  suffolkfilm 
©yahoo.com;  www.lifilm.org. 

LOS  ANGELES  INT'L  SHORT  FILM  FESTIVAL  (LA 
SHORTS  FEST),  Sept.  7-13,  CA.  Deadline:  May 
17;  June  17  (final).  Fest  dubs  itself  "the 
largest  short  film  fest  in  the  world."  Seeks 
Shorts,  Features  &  Screenplays  shorts  (under 
40  min.)  &  long  shorts  (40-60  mm.),  as  well  as 
feature-length  works  by  directors  who  have 


48  The  Independent  I  May  2005 


previously  completed  a  short  film  in  their 
career.  Works  must  have  been  completed 
after  Jan.  1  of  previous  year.  Founded:  1997. 
Cats:  Short,  Animation,  Doc,  Exp.,  any  style  or 
genre,  feature.  Awards:  Awards  in  "best  of" 
cats.  Formats:  35mm,  16mm,  Beta  SR 
DigiBeta.  Preview  on  VHS  or  DVD.  Entry  Fee: 
$45-$70.  Robert  Arentz,  Founder  &  Festival 
Director  ;  (323)  851-9100;  info@lashorts 
fest.com;  www.lashortsfest.com. 

MADCAT  WOMEN'S   INT  L  FILM   FESTIVAL, 

Sept.,  CA.  Deadline:  March  25;  May  13  (final). 
MadCat  showcases  innovative  &  challenging 
works  from  around  the  globe.  Fest  features 
experimental,  avant  garde  &  independent 
works  by  women  of  all  lengths  &  genres. 
Works  can  be  produced  ANY  year.  It  is  the 
fest's  goal  to  expand  the  notion  of  women's 
cinema  beyond  the  limitations  of  films  about 
traditional  women's  issues.  All  topics/subjects 
will  be  considered.  Founded:  1996.  Cats:  any 
style  or  genre.  Formats:  35mm,  16mm,  super 
8,  Beta  SR  1/2",  Mmi-DV.  Preview  on  VHS  or 
DVD.  Entry  Fee:  $10-$30  (sliding  scale,  pay 
what  you  can  afford).  Contact:  Festival;  (415) 
436-9523;  fax:  934-0642;  info@madcatfilmfes 
tival.org;  www.madcatfilmfestival.org. 

MAINE  STUDENT  FILM  &  VIDEO  FESTIVAL,  July 
23,  ME.  Deadline:  June  1.  The  Festival  spon- 
sored by  MAMA  (Maine  Alliance  of  Media 
Arts),  is  open  to  Maine  residents  19  years  of 
age  &  younger.  Entries  are  accepted  in  all  film 
&  video  formats  &  are  divided  into  3  cats:  Pre- 
Teen  Division  (Grades  K-5),  Junior  Division 
(Grades  6-8)  &  Senior  Division  (Grades  9-12). 
Founded:  1978.  Cats:  Any  style  or  genre, 
Student.  Awards:  Senior  Division  Grand  Prize 
Award  is  a  $2,000  Scholarship  to  the  Young 
Filmmakers  Program,  Int'l  Film  &  Television 
Workshop  in  association  w/  Rockport  College 
Rockport,  Maine.  Formats:  DVD,  Hi8,  1/2", 
Mini-DV.  Preview  on  VHS  or  DVD.  Entry  Fee: 
None.  Contact:  Festival;  (207)  773-1130; 
mfo@msfvf.com;  www.msfvf.com. 

MALIBU  INT'L  FILM  FESTIVAL,  Sept  16-23, 
CA.  Deadline:  Jan.  1;  June  1  (final).  The 
Malibu  Film  Foundation,  a  California  non-prof- 
it organization  was  founded  to  create,  devel- 
op, &  produce  the  Malibu  Int'l  Film  Festival. 
The  fest  screens  over  forty  independent  fea- 


ture, short  &  documentary  films  from  around 
the  world.  Founded:  1999.  Cats:  feature, 
short,  doc,  animation,  script.  Awards:  Grand 
Prize;  Directing  Award;  Audience  Award  (pop- 
ular ballot);  Cinematography  Award; 
Screenwriter  Award;  Emerging  Director 
Award.  Formats:  16mm,  35mm,  Beta,  Beta 
SR  DigiBeta.  Preview  on  VHS  or  DVD.  Entry 
Fee:  $20  (early),  $30  (Mar.  1),  $40  (May  1), 
$50  (final).  Contact:  Malibu  Film  Festival; 
(310)  452-1180;  mfo@malibufilmfestival.org; 
www.malibufilmfestival.com. 

OJAI    FILM    FESTIVAL,     Oct      20  23,     CA 

Deadline:  June  1;  July  1  (final).  Theme: 
"Enriching  the  Human  Spirit  Through  Film." 
Films  &  videos  on  all  subjects  in  any  genre  are 
welcomed.  Cats:  feature,  doc,  short,  anima- 
tion, student,  any  style  or  genre.  Awards:  Best 
narrative  feature  &  short;  Doc  feature  &  short; 
Animated  film;  Student  film;  Festival  theme 
award.  Formats:  35mm,  Beta  SR  Mini-DV,  DV 
Cam.  Preview  on  VHS  (NTSC),  DVD.  Entry 
Fee:  $25-$45.  Contact:  Steve  Grumette, 
Artistic  Director;  (805)  649-4000;  filmfest 
ival@ojai.net;  www.ojaifilmfestival.org. 

PALM  BEACH  JEWISH  FILM  FESTIVAL,  Dec  1- 

11,  FL.  Deadline:  March  1  (early),  Aug 
20(final).  This  fest  aims  to  "speak  to  the 
world-wide  Jewish  experience."  Cats: 
"Jewish  films",  any  style  or  genre.  Preview 
on  VHS.  Contact:  Jewish  Arts  Foundation; 
pbjff@kaplanjcc.org;  palmbeachjewishfilm.org. 

REEL  VENUS  FILM  FESTIVAL,  July  20  22,  NY 
Deadline:  April  15;  May  13  (final).  A  showcase 
of  FilmA/ideo  Shorts,  30  min.  &  under,  all  gen- 
res, directed  &  written  by  emerging  &  estab- 
lished women  filmmakers  from  the  United 
States  &  Abroad.  Founded:  2003.  Cats:  any 
style  or  genre,  short.  Formats:  35mm,  16mm, 
BetcTSR  DigiBeta,  1/2",  DVD.  Preview  on 
VHS  or  DVD.  Entry  Fee:  $15;  $20  (final). 
Contact:  Melissa  Fowler,  Festival  Director; 
info@reelvenus.com;  www.reelvenus.com. 

RESFEST  DIGITAL  FILM  FESTIVAL,  Sept  -  Dec  , 
NY,  CA,  DC,  IL,  MA,  OR.  Deadline:  April  15; 
May  13  (final).  Annual  nat'l/int'l  touring  fest 
seeks  short  films/videos  exploring  the  dynam- 
ic interplay  of  film,  art,  music  &  design.  The 
Fest  showcases  the  best  of  the  year's  shorts, 


Harmonic  Ranch 

audio  post  production  and  web  services 


AUDIO 

sound  design 
original  music 
audio  sweetening 
voiceovers 

mixing  WEB 

ADR  web  design  and  hosting 

database  applications 

streaming  media 

shopping  carts 

consulting 


59   FRANKLIN   ST. 

NEW  YORK,   NY   10013 

212-966-3141 


www.harmonicranch.com 

Celebrating  20  years  of  service 


May  2005  I  The  Independent    49 


SPLASH 

STUDIOS 

POST    PRODUCTION    FOB    PICTURE    &    SOUND 


PICTURE   EDITING 


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VISIT  OUR  WEBSITE  OR  CALL  US 
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49  WEST  23rd  STREET,  6th  FLOOR 
NEW  YORK,  NEW  YORK  10010 


More     Production 
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873  broadway,  suite  205,  new  york,  ny  10003 

tel  (212)  631-0435 

web:  www.prodcentral.com 
email:  david@prodcentral.com 


features,  music  videos,  &  animation  along  w/ 
screenings,  live  music  events,  parties,  panel 
discussions,  &  tech  demos.  The  underlying 
guideline  for  submissions  is  Innovation.  The 
previous  years  the  fest  toured  30  plus  cities 
int'lly.  Cats:  Doc,  Experimental,  Feature, 
Animation,  music  video,  short.  Formats:  DV, 
Beta  SP,  35mm,  DigiBeta  (preferred),  Mini  DV 
(NTSC).  Preview  on  VHS  ,  DVD,  Beta  SP 
(NTSC),  Mini  DV  (NTSC).  Entry  Fee:  $20:  $25 
(final).  Contact:  Festival:  filmmaker  @res 
fest.com;  www.resfest.com. 

RHODE  ISLAND  INT'L  FILM  FESTIVAL,  Aug   9- 

14,  Rl.  Deadline:  May  15,  June  1  (final).  Fest 
takes  place  in  historic  Providence,  Rl  &  has 
become  a  showcase  for  mt'l  independent 
filmmakers  &  their  work.  Fest  is  a  qualifying 
fest  in  the  Short  Film  category  w/  the 
Academy  of  Motion  Picture  Arts  &  Sciences. 
Founded:  1997.  Cats:  feature,  doc,  short,  ani- 
mation, experimental,  student,  youth  media, 
family,  children.  Awards:  All  films  will  be  eligi- 
ble for  Audience  Choice  Awards.  Formats: 
16mm,  35mm,  Beta  SP,  S-VHS,  1/2",  DV, 
DVD.  Preview  on  VHS  or  DVD.  Entry  Fee: 
$40.  Contact:  George  T.  Marshall;  (401)  861- 
4445;  fax:  847-7590;  flicksart@aol.com; 
www.nfilmfest.org. 

SAN  DIEGO  ASIAN  FILM  FESTIVAL,  Sept  29- 
Oct.  2,  CA.  Deadline:  April  1;  May  14  (final). 
Annual  competitive  fest  seeks  short-to  fea- 
ture-length narratives,  docs,  experimental, 
animation  &  mixed-genre  works  made  by  or 
about  Asian  &  Pacific  Americans.  Awards: 
Best  Feature,  Best  Short,  Best  Doc,  Best 
Experimental,  Best  Animation,  Best  Music 
Video,  Jury  award.  Formats:  35mm,  Beta  SP. 
Preview  on  VHS  (NTSC  only).  Entry  Fee:  $25; 
$35  (final).  Contact:  SDAFF;  (858)  699-2717; 
entnes@sdaff.org;  www.sdaff.org. 

SAN  DIEGO  FILM  FESTIVAL,  Sept  21-25,  CA 
Deadline:  June  1;  July  1  (final).  Festival  hosts 
interactive  panels  &  workshops,  a  nat'l 
screenwriting  contest,  filmmaker  receptions 
&  several  star-studded,  'not  to  be  missed'  par- 
ties. Cats:  feature,  doc,  short,  any  style  or 
genre.  Awards:  Best  feature,  best  short,  best 
documentary,  best  actor  &  actress,  best  up  & 
coming  actor  &  actress,  best  screenplay,  best 
cinematography,    Achievement    in    Acting 


Award.  Formats:  35mm,  16mm,  Beta  SP, 
1/2",  DVD.  Preview  on  VHS  (NTSC),  DVD. 
Entry  Fee:  $35  (features/docs);  $25  (shorts); 
$45  (features  final);  $35  (shorts  final).  Contact: 
San  Diego  Film  Foundation;  (619)  582-2368; 
fax:  286-8324;  info@sdff.org;  www.sdff.org. 

SEATTLE  LESBIAN  &  GAY  FILM  FESTIVAL,  Oct 

1 4-23,  WA.  Deadline:  June  1 ;  July  a  (final).  The 
Pacific  Northwest's  premier  queer  film  fest, 
committed  to  screening  the  best  in  lesbian, 
gay,  bisexual  &  transgender  film/video. 
Produced  by  Three  Dollar  Bill  Cinema,  whose 
mission  is  to  provide  community  access  to 
queer  cinema  &  a  venue  for  queer  filmmakers 
to  show  their  work.  Founded:  1995.  Cats: 
Feature,  Short,  Experimental,  doc,  animation. 
Awards:  Jury  selects  best  feature,  documen- 
tary, short,  new  director  &  female  director 
($500-$1,000).  Formats:  35mm,  16mm,  1/2", 
Beta  SP.  Preview  on  VHS  or  DVD.  Entry  Fee: 
$10;  $15  (final).  Contact:  Jason  Plourde; 
(206)  323-4274;  fax:  323-4275;  program 
ming@seattlequeerfilm.com;  www.seattle 
queerfilm.com. 

TELLURIDE  FILM  FESTIVAL,  Sept  2  5,  CO 
Deadline:  May  1,  June  15  (final).  Annual  fest, 
held  in  a  Colorado  mountain  town,  is  a  Labor 
Day  weekend  celebration  commemorating 
the  art  of  filmmaking:  honoring  the  great  mas- 
ters of  cinema,  discovering  the  rare  & 
unknown,  bringing  new  works  by  the  world's 
greatest  directors  &  the  latest  in  independent 
film.  Cats:  feature,  short,  student,  any  style  or 
genre,  doc,  experimental.  Awards:  None. 
Formats:  16mm,  35mm,  3/4",  1/2",  S-VHS, 
Beta,  Beta  SP,  DigiBeta,  Hi8,  DV,  DVD. 
Preview  on  VHS.  Entry  Fee:  $35  (19  mm.  or 
less);  $55  (20-39  mm);  $75  (40-59  mm);  $95 
(60  min.  &  over);  $25  (student  films,  any 
length).  Contact:  Bill  Pence /Tom  Luddy;  (603) 
433-9202;  fax:  433-9206;  mail@telluridefilm 
festival.org;  www.tellundefilmfestival.org. 

TELLURIDE  INDIEFEST,  Aug  31 -Sept.  4,  CO 
Deadline:  May  31 .  Fest  dubs  itself  as  "an  mt'l 
event  showcasing  the  world's  best  indie  films 
&  screenplays,  high  in  the  mountains."  Cats: 
feature,  doc,  any  style  or  genre,  short,  script. 
Formats:  Beta  SP,  1/2",  DVD.  Preview  on  VHS 
or  DVD.  Entry  Fee:  $40-$55.  Contact:  Michael 
Carr;      (970)     708-1529;     fax:     292-4178; 


50  The  Independent  I  May  2005 


festival@tellurideindiefest.com; 
lurideindiefest.com. 


www.tel 


UNITED  NATIONS  ASSOCIATION  FILM 
FESTIVAL,  Oct.  19-23,  CA.  Deadline:  June  1. 
Int'l  film  fest  held  at  Stanford  University, 
showcases  doc  films  &  videos  dealing  w/  UN- 
related  issues:  human  rights,  women's 
issues,  environmental  survival,  war  &  peace, 
etc.  All  genres  &  lengths  eligible.  Founded: 
1998.  Cats:  any  style  or  genre,  doc,  feature, 
short.  Awards:  Grand  Jury  Award,  The 
Stanford  Video  Awards  for  Best 
Cinematography  and  Best  Editing.  Formats: 
16mm,  1/2",  35mm,  DV.  Preview  on  VHS. 
Entry  Fee:  $25  (up  to  30  mm.);  $35  (longer 
than  30  mm).  Contact:  Jasmma  Bojic;  (650) 
725-5544;  fax:  725-0011;  info@unaff.org; 
www.unaff.org. 

WOODSTOCK  FILM  FESTIVAL,  Oct   13  17,  NY 

Deadline:  May  15;  June  28  (final).  Annual  non- 
profit fest  fosters  an  intimate,  reciprocal  rela- 
tionship between  indie  filmmakers,  industry 
reps  &  audience  members  held  in  "the  most 
famous  little  town  in  the  whole  world". 
Celebrating  new  voices  of  indie  film  w/  semi- 
nars, workshops,  concerts  &  parties.  Cats: 
feature,  doc,  short,  music  video,  animation, 
student.  Awards:  Best  feature,  doc,  short,  ani- 
mation, cinematography,  film  score.  Formats: 
35mm,  Beta  SP,  DigiBeta.  Preview  on  VHS. 
Entry  Fee:  $25-$50.  Contact:  Meira  Blaustein; 
(845)  679-4265;  info@wood  stockfilmfesti 
val.com;  www.woodstockfilmfestival.com. 

YOUNG  PEOPLE'S  FILM  &  VIDEO  FESTIVAL, 

July,  OR.  Deadline:  June  6.  Young  People's 
Film  &  Video  Festival  is  an  annual  juried  sur- 
vey of  outstanding  work  by  K-12  students 
from  the  Northwest  (OR,  WA,  ID,  MT,  UT,  AK). 
A  jury  reviews  entries  &  assembles  a  program 
for  public  presentation.  Judges'  Certificates 
are  awarded.  About  20  films  &  videos  are 
selected  each  year.  Entries  must  have  been 
made  w/in  previous  2  yrs.  Founded:  1975. 
Cats:  Student,  any  style  or  genre.  Awards: 
Judges  Certificates  awarded.  Formats: 
16mm,  S-8,  3/4",  1/2",  Hi8,  CD-ROM,  S-VHS, 
Super  8,  DV,  Mmi-DV,  DVD.  Preview  on  VHS. 
Entry  Fee:  None.  Contact:  Kristin  Konsterlie, 
Festival  Coordinator;  (503)  221-1 156;  fax:  294- 
0874;  kristm@nwfilm.org;  www.nwfilm.org. 


INTERNATIONAL 


ANTIMATTER:  UNDERGROUND  FILM  FESTIVAL 

Sept.  16-24,  Canada.  Deadline:  April  15;  May 
31  (final).  Annual  int'l  fest  seeks  "imaginative, 
volatile,  entertaining  &  critical"  films  &  videos. 
Antimatter  is  "dedicated  to  cinema  as  art  vs. 
product,  regardless  of  the  subversive  or  dan- 
gerous nature  of  its  content,  stylistic  concerns 
or  commercial  viability".  Selected  works  may 
be  included  in  upcoming  int'l  tours.  Industrial, 
commercial  &  studio  products  ineligible.  Max 
30  mm.,  completed  w/m  past  two  years. 
Founded:  1998.  Cats:  any  style  or  genre, 
short.  Formats:  1/2",  16mm,  DVD,  Mini-DV, 
Super  8.  Preview  on  VHS,  DVD.  Entry  Fee: 
$10;  $20  (final).  Contact:  Todd  Eacrett, 
Director;  (250)  385-3327;  fax:  385-3327; 
info@antimatter.ws;  www.antimatter.ws 

BIENNIAL  OF  MOVING  IMAGES,  Nov  11-28, 
Switzerland.  Deadline:  May  16.  Biennial  fest 
seeks  artistic  video  works  &  artistic  experi- 
mental films  of  all  lengths  &  genres  made  in 
the  previous  year.  Cats:  any  style  or  genre. 
Awards:  $15,000  in  cash  prizes.  Formats: 
Beta  SP,  DVD,  16mm,  35mm,  DV  Preview  on 
VHS  or  DVD.  Entry  Fee:  None.  Contact: 
Centre  for  Contemporary  Images;  011  41  22 
908  2000;  fax:  41  22  908  2001;  cic@sgg.ch; 
www.centreimage.ch/bim. 

BORDEAUX  INT'L  FESTIVAL  OF  WOMEN  IN 
CINEMA,  Oct.  3-9,  France.  Deadline:  June  15 
(shorts),  July  31  (features).  This  Festival  is 
designed  &  catered  to  the  women  filmmak- 
ers. The  Festival  aims  to  bring  together  inno- 
vative films  from  women  &  to  recognize  the 
achievements  of  female  filmmakers.  Cats: 
feature,  short.  Awards:  Jury,  Lifetime 
Achievement,  &  Cash  awards..  Formats: 
35mm,  Beta  SP  Pal.  Preview  on  VHS.  Entry 
Fee:  None.  Contact:  Festival  Int'l  du  Cinema 
au  Feminin;  (011)  33  1  56  36  15  01; 
s.wiemann@cinemafemimn.com;  www.cine 
mafeminin.com. 

GUERNSEY  FILM  FESTIVAL,  Oct  7  9,  United 
Kingdom.  Deadline:  May  31.  Fest  seeks  ama- 
teur film  &  videos  "made  for  love,  w/ no  finan- 
cial reward  &  w/out  professional  assistance 
other  than  processing,  copying,  or  sound 
transfer."  Works  must  be  30  mm.  or  less. 


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May  2005  I  The  Independent     51 


Digital /Analog 

Film,  Video  &  Web  Production 

AVID  AND  FINAL  CUT  PRO  SUITES 

POST-PRODUCTION  SPECIALISTS 

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Media 
Fund  2005 

Production  Funds  for  Pacific 
Islander  Projects  Destined  for 
National  Public  Television 

All  genres  welcomed.  Awards 
up  to  $50,000  for  production 
and  post-production. 

Deadline:  August  5,  2005 

Send  proposals  to: 
Pacific  Islanders  in  Communications 
1221  Kapi'olani  Blvd.  6A-4 
Honolulu,  Hawai'i  96814-3513 

Applications  available  at 
www.piccom.org 


4^%  Pacific  Islanders 


JjJ  Primary  funding  for  PIC  is  provided  by 
the  Corporation  for  Public  Broadcasting 


Cats:  short.  Awards:  The  winners  of  the  fol- 
lowing amateur  cats  receive  awards: 
Photography,  Editing,  Use  of  sound,  Script, 
Fiction,  Youth  Entry,  Animation,  Doc,  Acting 
Performance,  Comedy.  The  Best  Film  in  the 
Festival  receives  a  special  award  &  there  are 
five  runners  up.  The  Open  Section  awards  for 
First,  Second,  &  Third  places.  Formats:  super 
8,  8mm,  16mm,  S-VHS,  1/2"  (PAL),  DV,  Mini- 
DV.  Preview  on  VHS.  Entry  Fee:  $10.  Contact: 
Peter  &  Mary  Rouillard;  011  44  1481-238-147; 
fax:  011  44  1481-235-989;  rouillard® 
cwgsy.net;  www.guernseylily.com. 

INT'L  0RINTH0L0GICAL  FILM  FESTIVAL,  Oct 

27-Nov.  1,  France.  Deadline:  June  1.  Annual 
fest  shows  about  40  films  concerning  ornitho- 
logical subjects,  as  well  as  all  wildlife  (wild 
mammals,  reptiles  or  swimming  creatures). 
Associations  &  orgs  concerned  w/  environ- 
mental issues  invited  to  present  activities  in 
various  forums.  Regional  tours  organized  each 
day  specifically  in  bird  watching  areas  &  chil- 
dren's activities  around  ornithological  subjects 
are  held.  25-30  artists  present  photographs, 
paintings  &  sculpture.  Entries  must  be  French 
premieres.  Founded:  1985.  Cats:  wildlife/envi- 
ronmental, doc,  short.  Awards:  Cash  awards. 
Formats:  Beta  SP.  Preview  on  DVD.  Entry 
Fee:  None.  Contact:  Marie  Christine  Brouard; 
01 1  33  5  49  69  90  09;  fax:  33  5  49  69  97  25; 
mainate@menigoute-festival.org; 
www.menigoute-festival.org. 

INVIDE0,  Nov.  9-13,  Italy.  Deadline:  June  17. 
Formats:  Beta  SP,  DVD.  Preview  on  VHS. 
Entry  Fee:  None.  Contact:  A.I.A.C.E./ 
INVIDEO;  011  39  2  761  153  94;  fax:  752  801 
19;  www.mostramvideo.com. 

LOCARNO  INTERNATIONAL  FILM  FESTIVAL 

August  3-13,  Switzerland.  Deadline:  June  15. 
This  major  Swiss  cultural/cinematic  all-feature 
event,  is  known  for  its  innovative  program- 
ming &  support  of  alternative  visions  from 
independent  directors.  Program,  in  addition  to 
competition  &  Piazza  Grande  screenings, 
incls.  video  competition,  Filmmakers  of  the 
Present,  retrospective  section,  sidebar  sec- 
tions, new  Swiss  cinema  &  film  market. 
Presenting  over  400  prods  shown  each  year, 
the  Festival  receives  a  large  amount  of  public- 
ity by  the  int'l  press.  Founded:  1948.  Cats: 


feature,  doc,  short,  animation,  experimental, 
student.  Awards:  Golden  Leopard;  Grand  Prix 
of  the  City  of  Locarno  .  Formats:  35mm, 
16mm,  Beta.  Preview  on  VHS.  Entry  Fee: 
None.  Contact:  Irene  Bignardi,  Festival 
Director;  011  41  91  756  2121;  fax:  41  91  756 
2149;  mfo@pardo.ch;  www.pardo.ch. 

MALESCORTO,  Aug.  4-10,  Italy.  Deadline:  June 
1 .  This  fest  brings  together  representatives 
from  the  world  of  local  culture  &  professionals 
from  the  television  sector  &  showcases 
shorts  from  filmmakers  around  the  world. 
Cats:  short,  doc,  children.  Awards:  Jury  & 
cash  awards.  Formats:  35mm,  16mm. 
Preview  on  VHS.  Entry  Fee:  None.  Contact: 
Mauro  Colnaghi;  info@malescorto.it; 
www.malescorto.it. 

MILANO  FILM  FESTIVAL,  September  10-19, 
Italy.  Deadline:  May  31.  Annual  fest  invites 
features  films  &  shorts  (under  45  min.)  from 
anyone  who'd  like  to  "invent,  build,  &  destroy 
new  ideas  of  cinema."  Cats:  any  style  or 
genre,  feature,  doc,  short,  animation,  experi- 
mental, music  video,  student.  Awards: 
Awards  incl.  Aprile  Award.  Formats:  35mm, 
16mm,  8mm,  DV,  Beta  SP,  1/2".  Preview  on 
VHS.  Entry  Fee:  none.  Contact:  Festival,  011 
39  02  713  613;  info@rmilanofilmfestival.it; 
www.milanofilmfestival.it. 

MORBEGNO  FILM  FESTIVAL,  Sept  21-25,  Italy 
Deadline:  May  2.  This  Festival  aims  to  recog- 
nize the  creativity  of  filmmakers  &  to  offer  the 
public  of  the  Province  of  Sondno  the  visions  of 
others  w/  respect  to  distribution  into  the  com- 
mercial market.  Cats:  short,  feature,  doc. 
Awards:  Cash  awards.  Formats:  35mm, 
16mm,  Super  8,  analog  &  digital  video. 
Preview  on  VHS  or  DVD.  Entry  Fee:  None. 
Contact:  Associazione  Culturale  Zert; 
mff@zert.it;  www.zert.it. 

MOVING  PICTURES  FESTIVAL  OF  DANCE  ON 
FILM  &  VIDEO,  Nov.  3-6,  Canada.  Deadline: 
May  30.  Fest  invites  filmmakers,  choreogra- 
phers &  dance  artists  to  submit  film  &  video. 
This  event  is  dedicated  to  exploring  the  inter- 
sections of  dance  &  the  camera.  Rough  cuts 
will  be  considered  if  accompanied  by  a 
detailed  description  &  schedule  for  comple- 
tion. Cats:  feature,  doc,  short,  experimental, 


52    The  Independent  I   May  2005 


animation,  TV,  installation.  Awards:  Grand 
Prize  for  Best  Filmmaker.  Formats:  16mm, 
35mm,  Beta  SP,  1/2",  super  8.  Preview  on 
VHS.  Entry  Fee:  $20  CDN;  $30  US  &  Int'l. 
Contact:  Kathleen  Smith,  Executive  Director; 
(416)  961-5424;  fax:  961-5624;  mfo@moving- 
picturesfestival.com;  www.movingpictures 
festival.com. 

PESARO  FILM  FESTIVAL  June  24  July  2,  Italy 
Deadline:  May  7.  Annual  fest's  "New 
Cinema"  program.  Production  req.  Italian  pre- 
miere, completion  after  Jan.  1  of  previous 
year.  If  not  English  or  French  spoken  or  subti- 
tled, enclose  dialogue  list  in  either  language. 
Founded:  1964.  Cats:  feature,  short,  doc, 
experimental,  animation  features.  Formats: 
35mm,  16mm,  Betacam,  3/4".  Preview  on 
VHS.  Entry  Fee:  None.  Contact:  Fondazione 
Pesaro  Nuovo  Cinema;  011  39  06  445  6643; 
fax:  49  11  63;  pesarofilmfest@mclink.it; 
www.pesarofilmfest.it. 

PLANET  FOCUS:  TORONTO  ENVIRONMENTAL 
FILM  FESTIVAL,  Sept.  28-Oct.  2,  Canada. 
Deadline:  April  1;  May  2.  Fest  pays  special 
consideration  to  works  that  push  the  bound- 
aries of  the  accepted  notions  of  'environ- 
ment'; works  that  present  cultural  perspec- 
tives that  are  under-represented  in  Canada  & 
works  that  will  have  their  world  or  Canadian 
premiere  at  fest.  Cats:  any  style  or  genre. 
Entry  Fee:  $15;  $20  (final).  Contact:  Festival; 
(416)  531-1769;  info@planetinfocus.org; 
www.planetinfocus.org. 

SALENTO  INT'L  FILM  FESTIVAL,  Sept  10-18, 
Italy.  Deadline:  March  30;  June  10  (final).  This 
Festival  promotes  Italian  &  int'l  independent 
films  to  the  public,  in  recognition  of  the  fact 
that  movies  are  the  most  powerful  form  of 
cultural  communication  &  link  between  cul- 
tures &  peoples.  Cats:  feature,  doc,  short 
Awards:  Grand  Jury  awards.  Formats:  35mm. 
Preview  on  VHS.  Entry  Fee:  $30  (shorts);  $50 
(features).  Contact:  SIFF;  (818)  248-2349;  fax: 
248-1 647;  lnfo@salentofilmfestival.com; 
www.salentofilmfestival.com. 

SHEFFIELD  INT'L  DOC  FESTIVAL,  Oct  10-16, 
UK.  Deadline:  June  1 .  Festival  is  "firmly  estab- 
lished as  one  of  the  premier  int'l  events  for 
documentary."    Combining  a  program  of  ses- 


sions &  masterclasses  covering  all  issues  per- 
tinent to  documentary.  Founded:  1994.  Cats: 
doc,  short,  student,  TV,  feature.  Formats: 
35mm,  16mm,  Beta,  Beta  SP.  Preview  on 
VHS  (PAL  only)  or  DVD.  Entry  Fee:  None. 
Contact:  Emma  Ryan;  011  44  114  276  5141; 
fax:  44  114  272  1849;  emma@sidf.co.uk; 
www.sidf.co.uk. 

ST  JOHN'S  INT'L  WOMEN'S  FILM  &  VIDEO  FES- 
TIVAL, October  18-22,  Canada.  Deadline:  May 
31.  Festival  seeks  films  &  videos  made  by 
women.  Founded:  1989.  Cats:  Experimental, 
Animation,  Feature,  Doc.  Awards:  Non-com- 
petitive.  Formats:  35mm,  16mm,  Beta,  DVD, 
1/2".  VHS.  Entry  Fee:  $25.  Contact:  Program 
Committee;  (709)  754-3141;  fax:  (709)  754- 
3143;  womensfilm  fest@nfld.net;  www. worn 
ensfilm  festival.com. 

VANCOUVER  INT'L  FILM  FESTIVAL,  Sept  29 
Oct.  14,  Canada.  Deadline:  June  15 
(Canadian);  July  5  (Int'l).  Fest  presents  300 
films  from  50  countries  at  8  cinemas  over  16 
days  &  has  become  one  of  N.  America's  larg- 
er int'l  fests  (after  Montreal  &  Toronto).  Fest 
accepts  Canadian  shorts  &  features  but  only 
feature  films  from  outside  Canada  that  have 
not  been  screened  commercially  or  broadcast 
in  British  Columbia.  Founded:  1982.  Cats:  any 
style  or  genre,  doc,  feature,  short.  Formats: 
35mm,  16mm,  70mm,  3/4",  1/2",  Beta,  Beta 
SP,  DigiBeta,  DV,  DVD.  Preview  on  VHS.  Entry 
Fee:  $50  ($30  U.S.,  non-Canadian  only). 
Contact:  PoChu  AuYeung,  Program  Manager; 
(604)  685-0260;  fax:  688-8221;  viff@viff.org; 
www.viff.org. 

VENICE  INT'L  FILM  FESTIVAL,  Aug  31 -Sept. 
10,  Italy.  Deadline:  June  30.  Fest  is  one  of 
the  most  prestigious  w/  several  int'l  sec- 
tions. Founded:  1932.  Cats:  feature,  doc, 
short,  animation,  retro.  Formats:  35mm, 
16mm,  Beta  SP,  Experimental  sections  also 
accepts  BVU  &  Betacam  video,  DigiBeta. 
Preview  on  VHS.  Entry  Fee:  None.  Contact: 
La  Biennale  di  Venezia  Dept.  of  Cinema;  01 1 
390  41  521  871 1 ;  fax:  390  41  522  7539;  cm 
ema@labiennale.org;  www.labiennale.org. 


NON  LINEAR /LINEAR 
OFF  LINE /ON  LINE 
BETASP,  DV  EDITING 
DV,  HI8,  SP,  INTERFORMAT 
CD-ROM  OUTPUT 


EXCELLENT  RATES 
EXPERIENCED  EDITORS 


SOHO/CHINATOWN  LOCATION 
MASTER  &  VISA  ACCEPTED 

(21 2)-21 9-9240 

EMAIL: 
DFROESE@COMPUSERVE.COM 


SURVIVAL 

ENTERTAINMENT 

MOTTO: 


"ww  f  (wfffffmw^ 


BUDGET 
INSURANCE 





D.R.  REIFF 
&  ASSOCIATES 


ENTERTAINMENT  INSURANCE 

BROKERS 

320  WEST  57  ST 

NEW  YORK,  NY  10019 

(212)603-0231  FAX  (212)  247-0739 


May  2005  I  The  Independent  53 


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BUY  I  RENT  I  SELL 

ARCHIVAL  FOOTAGE  AT  LOW  PRICES,  NO 
RESTRICTIONS:  Offering  a  High  Quality, 
Extensive  Library  of  Public  Domain  Footage 
spanning  the  20th  Century  at  prices  inde- 
pendent producers  can  afford.  Footage  Farm 
(888)  270-1414;  www.footagefarm.com. 

CAMERA    RENTALS    FOR    LOW    BUDGETS 

Production  Junction  is  owned  &  operated  by 
a  fellow  indpendent.  Cameras,  Lights,  Mies, 
Decks,  etc.  Equipment  &  prices  at 
www.ProductionJunction.com. 
Email:Chns@ProductionJunction.com  or  call 
(917)288-9000. 

DIGIBETA/BETA-SP  DECKS  FOR  RENT  Best 
Prices  in  NYC!  Transfer  to  DVD  only  $40. 
VHS  dubs.  DVCAM  decks  &  camera  pack- 
ages by  day/week/month.  1:1  Meridian  Avid 
suite  &  MC4000  suite.  Production  office 
space,  too!  Call  Production  Central  (212) 
631-0435,  www.prodcentral.com. 


PROFESSIONAL  VIDEOCAMERA  SONY  DSR 
570  with  3  batteries-  near  mint 
condition,  w/case.  Native  16x9,  DVCAM  or 
mini  DV.  $12,750.   907-677-7970. 

UNION  SQUARE  AREA  STAGE  RENTALS,  pro- 
duction space,  Digibeta,  Beta  SP,  DVCAM, 
mini-DV,  hi-8,  24-P,  projectors,  grip,  lights, 
dubs,  deck  and  camera  rentals 
Uncompressed  Avid  and  FCP  suites,  too. 
Production  Central  (212)  631-0435. 

DISTRIBUTION 

AQUARIUS  HEALTH  CARE  VIDEOS  is  the  lead- 
ing Distributor/Producer  of  documentary 
films  on  health  care  issues.  Our  programs  are 
educational  and  inspirational  and  focus  on  life 
challenging  situations.  We  are  currently 
seeking  additional  films  to  add  to  our  award 
winning  collection.  Our  strong,  targeted  mar- 
keting program  will  increase  awareness  and 
sales  for  you.  Please  send  a  preview  vhs  or 
DVD  to  Aquarius  Health  Care  Videos,  18 
North  Mam  Street,  Sherborn,  MA  01770  or 
call  (888)  440-2963,  lbk@aquanus  produc- 
tions.com. 


FANLIGHT  PRODUCTIONS  20+  years  as  an 
industry  leader!  Join  more  than  100 
award-winning  film  &  video  producers. 
Send  us  your  new  works  on  healthcare, 
mental  health,  aging,  disabilities,  and  relat- 
ed issues.  (800)  937-4113;  www.fan- 
light.com. 

THE  CINEMA  GUILD,  leading  film/video/multi- 
media distributor,  seeks  new  doc,  fiction, 
educational  &  animation  programs  for  distri- 
bution. Send  videocassettes  or  discs  for 
evaluation  to:  The  Cinema  Guild,  130 
Madison  Ave.,  2nd  fl„  New  York,  NY  10016; 
(212)  685-6242;  info@CINEMAGUILD.COM; 
Ask  for  our  Distribution  Services  brochure. 

FREELANCE 

35MM  &  16MM  PROD.  PKG.  W/  DP.  Complete 
package  w/  DP's  own  Arn  35BL,  16SR, 
HMIs,  lighting,  dolly,  Tulip  crane,  camjib, 
DAT,  grip  &  5-ton  truck..  Call  for  reel: 
Tom  Agnello  (201)  741-4367;  roadtoindy 
@aol.com. 


54  The  Independent  I  May  2005 


ACCOUNTANT/BOOKKEEPER/CONTROLLER 

Experience  in  both  corporate  &  nonprofit 
sectors.  Hold  MBA  in  Marketing  & 
Accounting.  Freelance  work  sought.  Sam 
Sagenkahn  (917)  374-2464. 

ARE  YOU  STUCK?  FERNANDA  ROSSI,  script  & 
documentary  doctor,  specializes  in  narrative 
structure  in  all  stages  of  the  filmmaking 
process,  including  story  development, 
fundraising  trailers  and  post-production.  She 
has  doctored  over  30  films  and  is  the  author 
of  Trailer  Mechanics.  For  private  consulta- 
tions and  workshops  visit  www.documen 
tarydoctor.com  or  write  to  info@documen 
tarydoctor.com. 

CAMERAMAN/     STEADICAM      OPERATOR: 

Owner  Steadicam,  Am  35  BL,  Am  16  SR, 
Beta  SR  Stereo  TC  Nagra  4,  TC  Fostex  PD-4 
DAT,  lighting  packages  to  shoot  features, 
music  videos,  commercials,  etc.  Call  Mik 
Cribben  for  info  &  reel,  (212)  929-7728  in  NY 
or  800-235-2713  in  Miami. 

COMPOSER  MIRIAM  CUTLER  loves  to  collabo- 
rate: docs,  features.  Lost  In  La  Mancha/IFC, 
Scout's  Honor,  Licensed  To  Kill,  Pandemic: 
Facing  Aids/HBO,  Indian  Point/HBO, 
Positively  Naked/HBO,  Stolen  Childhoodsa, 
Amy's  O  &  more.  (310)  398-5985 
mir.cu@venzon.net.  www.miriamcutler.com. 

COMPOSER:  Original  music  for  your  film  or 
video  project.  Will  work  with  any  budget. 
Complete  digital  studio.  NYC  area.  Demo  CD 
upon  request.  Call  Ian  O'Brien:  (201)  222- 
2638:  iobnen@bellatlantic.net. 

DP  WITH  ARRI  SR  SUPER  16/16MM  and  35BL- 
2  camera  packages.  Expert  lighting  and  cam- 
erawork for  independent  films,  music  videos, 
etc.  Superb  results  on  a  short  schedule  and 
low  budget.  Great  prices.  Willing  to  travel. 
Matthew  617-244-6730 


DIGITAL  DP/CAMERA  OPERATOR  with  a  Sony 
DSR-500WSL/1  camera  package.  Electronic 
Cinematography,  documentary,  independent 
friendly,  reasonable  rates.  Full  Screen/Wide 
Screen-(4:3/16:9).  For  reel,  rate  &  info  call: 
(516)  783  5790. 

CAMERA  GROUP  IN  NYC  seeking  profession 
al  cameramen  and  soundmen  w/  solid 
Betacam  experience  to  work  w/  wide  array 
of  clients.  If  qualified,  contact  COA  at  (212) 
505-1911.  Must  have  documentary/news 
samples  or  reel. 

GRANTWRITING/FUNDRAISING:  Research, 
writing  &  strategy  (for  production,  distribu- 
tion, exhibition  &  educational  media  proj- 
ects). Successful  proposals  to  NYSCA,  NEA, 
NEH,  ITVS,  Soros,  Rockefeller,  Lila  Acheson 
Wallace  Foundation.  Fast  writers,  reasonable 
rates.  Wanda  Bershen,  (212)  598-0224: 
www.reddiaper.com. 

LOCATION  SOUND  Over  25  yrs  sound  exp 
w/  timecode  Nagra  &  DAT,  quality  mics  & 
mixers.  Reduced  rates  for  low-budget 
projects.  Harvey  &  Fred  Edwards,  (518) 
677-5720:  (819)  459-2680:  edfilms@world- 
net.att.net:  www.edwardsfilms.com. 

NEW  MUSIC  PRODUCTION  COMPANY  with 
many  years  combined  composing 
experience.  Audioreel  provides  all  the  servic- 
es that  you  may  require  for 
your  production,  from  scoring  to  picture,  too 
flash  music  for  web  sites. 

OPPORTUNITIES  I  GIGS 

50  WAYS  TO  IMPROVE  YOUR  VIDEO  BUSI- 
NESS. FREE  REPORT  Grow  a  successful 
video  business  in  Legal,  Wedding, 
Corporate,  TV  and  more.  http://videouniversi 
ty.com/50web.htm. 


DHTV,  a  progressive,  nonprofit  community 
media  center  and  tv  station  in  St.  Louis,  MO 
seeks  works  by  indie  producers.  Half  hour 
and  1  hour  lengths.  S-VHS  accepted,  DVD 
preferred.  Non-exclusive  rights  release  upon 
acceptance.  No  pay  but  exposure  to  60,000 
cable  households.  Contact  Mariah 
Richardson,  dhTV,  625  N.  Euclid,  St.  Louis, 
Mo  63108,  (314)  361-8870  x230, 
mariah@dhtv.org. 

REPRODUCTIVE  RIGHTS  FILM  FESTIVAL 
RIGHTS!  Camera!  Action!  is  a  new,  annual 
event  celebrating  reproductive  health  & 
rights  at  grassroots  organizations  and  univer- 
sities nationwide.  Films  on  abortion,  birth 
control,  reproductive  technologies,  sex  ed  & 
GLBTQ  issues  elegible.  Entry  deadline  July 
1  st.  Contactsubmit@rightscameraaction.net 
or  InCite  347  W  36th  St  Ste  901,  NY,  NY 
10018.  Submissions  cannot  be  returned. 

THE  QUITTAPAHILLA  FILM  FESTIVAL  is  looking 
for  features,  shorts  and  documentaries  for 
its  Sept.  30-Oct  2,  2005  juried  festival.  See 
full  details  for  entry  at  our  website: 
qfilms.org.  Send  submissions  on  VHS  or 
DVD  to:  Attn.  OFF,  c/o  The  Allen  Theatre,  36 
E.  Main  Street,  Annville,  PA  17003.  Postmark 
entries  by  July  1,  2005.  Entree  fee  is  $25. 

POSTPRODUCTION 

AUDIO  POST  PRODUCTION  Full  service  audio 
post-production  facility.  Mix-to-picture,  ADR, 
voice-over,  sound  design  &  editing.  Features, 
shorts,  docs,  TV  &  Radio.  Contact  Andy,  All 
Ears  Inc:  (718)  399-6668  (718)  496-9066 
andy@allearspost.com. 

BRODSKY  &  TREADWAY  film-to-tape  trans 
fers,  wet-gate,  scene-by-scene,  reversal  film 
only.  Camera  original  Regular  8mm,  Super  8, 
and  16mm.  For  appointment  call  (978)  948- 
7985. 


May  2005  I  The  Independent    55 


Before  the  movie  was  an  official  selection  of  the  2005  Sundance  Film 
Festival,  and  before  the  radio  story  hit  the  airwaves,  Fair  was  (is)  a  hand- 
bound  edition  of  40  books.  The  books  are  bound  dos-a-dos  and  divided 
into  two  sections:  DAY  and  NIGHT.  Each  section  contains  a  cd  of  ambient 
sounds  that  correspond  to  a  sequence  of  video  stills  from  the  Brockton  Fair. 

Every  fair  is  essentially  two  fairs:  one  sunny  and  bright,  full  of  cuddly 
animals  and  babies;  the  other  dark  and  ambiguously  dangerous,  more 
grown-up  and  aggressive.  The  text  at  the  beginning  of  each  section  is 
inspired  by  the  tone  of  the  imagery  and  the  sounds  found  in  that  section. 
The  overall  effect  is  at  once  personal  and  exotic.  The  form  of  the  object  is 
book,  but  strangely  so.  The  subject  is  one  we  all  know,  yet  it  is  one  that  we 
have  mythologized  into  a  (somewhat  treacherous)  fantasy  world  of  odd- 
balls, oddities,  misfits,  and  shysters.  We  know  what  to  expect  at  the  fair;  we 
are  delighted  when  we  find  it.  Turning  the  pages  of  the  video  stills,  hearing 
the  sounds,  feels,  in  the  words  of  one  viewer,  "like  reading  a  movie." 

Like  its  namesake,  Fair  contains  elements  of  familiarity  and  surprise,  as 
the  artist  re-creates  the  fair  experience  visually,  aurally,  and  structurally 
in  the  book.  Each  section  contains  one  popup  designed  and  constructed  by 
the  artist,  and  there  are  several  flyouts  and  pulldowns  for  the  reader  to 
unfold  and  peek  inside.  The  artwork  on  each  cd,  the  covers,  and  the  spines 
of  the  books  is  stenciled  and  stamped  by  hand,  making  each  book  unique, 
and  the  cover  paper,  book  cloth,  and  paint  combinations  vary. 


To  determine  pricing  and  availability, 
post  your  inquiry  directly  to  the  artist: 

Jason  Rayles 

435  Broadway  #403 

Brooklyn,  NY  11211 

or  telephone  718  388  3802 
or  electronic  mail  fair@23grand.com 


for  more  information,  see  http://23grand.com 


POSTPRODUCTION 

NEGATIVE  CUTTING  FOR  FEATURES,  short 
films  etc.  Expert  conforming  of  35mm, 
Super  16  or  16mm  negative  to  workpnnt  or 
Avid  cut  list.  Superb  quality  work  and 
absolutely  clean  cuts.  Great  prices.  Matthew 
617-244-6730  mwdp@att.net. 

PRODUCTION  TRANSCRIPTS  Verbatim  tran 
scnption  service  for  documentaries, 
journalists,  film  and  video.  Low  prices  &  flat 
rates  based  on  tape  length,  www.produc 
tiontranscnpts.com  for  details  or  call:  (888) 
349-3022. 

PREPRODUCTION  I 
DEVELOPMENT 


m 


Free  Project  Evaluation 


244  Fifth  Avenue.  Suile  #  2518.  NY.  NY.  10001 


STORY  DEVELOPMENT  With  8  years 
Miramax  experience,  script/story/creative 
consultant  Maureen  Nolan  offers  a  full 
range  of  consulting  services  for  writers 
and  filmmakers.  Script  consults,  coaching, 
story  development,  rewrites,  etc.  212- 
663-9389  or  917-620-6502. 

WEB 

POST  YOUR  FILM  TRAILER,  demo  reel,  video 
resume  on  your  website  and/or  send  them 
via  E-mail  to  any  e-mail  address.  Great  ma 
keting  tool!  $.05  per  viewing  minute.  Call  or 
e-mail  Tom  Aguilar  at  (480)  459-1 1 14  or  visit 
my  website  for  more  info. 

WEB  SITE  DESIGNER:  Create  multimedia  web 
sites,  integrating  video,  sound,  and  special 
effects,  that  promote  your  films  and/or  your 
company,  www.____________design.com. 
Info:  ______  ______,  phone:  ___-___-____, 
email:  ______@______.net. 


56  The  Independent  I  December  2004 


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COMPETITIONS 


2005  SANTA  BARBARA  SCRIPT  COMPETITION 

seeks  submissions.  Entry  fee  $40.  Grand 
Prize  $2000  Option,  First  Prize  $750.  All  win- 
ners will  also  receive  screenwriting  related 
books,  materials  and  or  software.  Special 
Cash  Award  for  Regional  Writer  to  be  award- 
ed to  a  South  Coast  Resident.  (Santa  Barbara, 
Ventura,  San  Luis  Obispo  counties  in 
California).  Regular  submission  deadline  is 
June  30th  and  late  is  July  31.  Contact: 
Geoff@santabarbarascript.com. 

BUSINESS  FILMS  ELAN  announces  new 
screenplay  contest:  $1000  Feature-length 
Screenplay  Contest  — Deadline:  June  15, 
2005  —  Entry  is  free  and  winning  films  will  be 
slotted  for  production.  For  more  information 
and  submission  guidelines,  www.business 
film.com/businessfilmelan.html. 

GLOBAL  ENTERTAINMENT  &  MEDIA  SUMMIT 
2005:  New  York  City:  May  14-15,  2005.  A  live- 
ly and  engaging  forum  of  people  with  vision 
from  the  independent  and  mainstream  music, 
film,  video  and  multimedia  worlds  of  the 
entertainment,  media,  and  communications 
industries.  People  connect  with  people, 
exchanging  ideas  and  creating  projects  in  a 
context  of  innovation,  reinvention,  and  possi- 
bility. Together,  this  community  is  proactively 
effecting  new  ways  to  achieve  sustainable 
careers  and  the  direction  of  the  revolution 
now  taking  place  in  marketing  and  distribu- 
tion. For  more  information  visit  www.globa 
lentertammentnetwork.com. 


THE  EXPERIMENTAL  TELEVISION  CENTER 
INTERNATIONAL  RESIDENCY  2005  is  a  collabo- 
rative video  and  sonic  arts  course,  sponsored 
by  the  Institute  for  Electronic  Arts  (IEA)  and 
accredited  through  the  School  of  Art  and 
Design  at  Alfred  University,  for  professionals 
and  both  undergraduate  and  graduate 
students  May  25-June  5,  2005.  Activities 
include  daily  tech  lectures  on  equipment  oper- 
ation, with  lab  times  for  independent  and  col- 
laborative art-making.  Registration  is  limited. 
There  is  a  fee.  For  additional  information  and 
registration  contact  Pam  Hawkins  hawkin 
sp@alfred.edu. 

RESOURCES  FUNDS 


FUNDING  FOR  INDIE  PRODUCTIONS:  LOCAL 
INDEPENDENTS  COLLABORATING  with  STA 
TIONS  (LlnCS)  from  Independent  Television 
Service  (ITVS)  provides  matching  funds  up  to 
$1 00,000  for  collaborations  between  public  TV 
stations  and  indie  producers.  Projects  may  be 
in  any  stage  of  development  and  all  genres  are 
eligible,  including  documentary,  drama,  anima- 
tion and  innovative  combinations.  Only  single 
shows,  26:40  or  56:40,  are  eligible.  Programs 
should  stimulate  civic  discourse  and  find  inno- 
vative ways  to  explore  regional,  cultural,  politi- 
cal, social  or  economic  issues.  Indie  film  and 
videomakers  are  encouraged  to  seek  collabo- 
rations with  local  public  TV  stations.  Deadline: 
May  26,  2005.  Guidelines  and  applications  at 
www.itvs.org,  or  call  Elizabeth  Meyer  (415) 
356-8383  x270;  Elizabeth_Meyer@itvs.org. 

GLOBAL  CENTER,  a  nonprofit,  IRS-certified 
501(c)(3)  educational  foundation,  seeks  film- 
makers seeking  fiscal  sponsors.  For  more  info, 
call  (212)  246-0202,  or  email  roc@globalvi 
siefi,org;  www.globalvision.org. 

MEDIA  ARTS  TECHNICAL  ASSISTANCE  FUND  is 

designed  to  help  non-profit  media  arts  pro- 
grams in  New  York  State  stabilize,  strengthen 
or  restructure  their  media  arts  organizational 
capacity,  services  and  activities.  The  fund  will 
provide  up  to  $2,000  per  project  to  organiza- 
tions which  receive  support  from  NYSCAs 
Electronic  Media  and  Film  program.  The  Media 
Arts  Technical  Assistance  fund  can  assist  with 
the  hiring  of  consultants  or  other  activities 


CIVILIAN 


WHAT'S  THE  BUZZ? 


The  Civilians  is  wrapping  up  its 
fourth  successful  season.  Read 
what  everyone's  saying... 


"If  you  can't  name  many 
'documentary  cabaret'  theatre 
companies,  it  could  be  |" 
because  Steve  Cosson's 
Civilians  more  or  less  | 
invented  the  genre." 


American  Theatre  Magazine 


"Those  craving  musical  wit 
|  and  sophistication  have  to 
look  to  the  cheeky  art  songs 
of  Michael  Friedman,  the 
resident  composer 
of  The  Civilians." 


Time  Out  New  York 


"A  collective  like  the 
Civilians,  which  was  created 
by  some  extraordinarily 
talented  actors  and  equally 
talented  directors,  provides 
new  venues  for  fresh  writing. 
Cross-fertilization  isT 
everywhere." 


The  Village  Voice 


In  our  hectic  modern  world 
there  are  many  ways  to  lose 
J  things,  and  many  things  to 
lose:  the  will  to  live,  the  plot, 
[a  war.  These  and  others  are 
^explored  in  the  UK  debut 
of  Gone  Missing  by  the 
acclaimed  New  York 
company  The  Civilians." 


The  Times  of  London 

Check  out  The  Civillians 

and  see  what  independent  theater 

is  all  about! 

www.thecivilians.org 


May  2005  I  The  Independent     57 


INTRODUCING  THE 

GLIDECHM 

SMOOTH     SHOOT 

from  Glidecam  Industries,  Inc 


INTRODUCTORY 
PRICE 

$1499.00  i 


r  i 

\     -  nU. 

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(Glid 
1-*00-«00-2011 
1 -800-949-2089 

1-508-830-1414 


GLIDECAM  2000  PRO 


The  World's  most  sophisticated  and  affordable  Body 
Mounted  Camera  Stabilization  System  designed  for 
Cameras  weighing  up  to  6  pounds  when  used  with  the 

Glidecam  2000  P'o  or  for  Cameras  weighing  from 
4  to  10  pounds  when  used  with  the  Glidecam  4000Pro 

&rdecarr.  is  Registered  at  the  Patent  and  If  '" 
Copyright  2005  Glidecam  Industrie*.  Inc.  All  Ri] 


mercerMEDIA 

212.627.  8070 

Sound  design,  editing  and  mixing 
VO  recording,  ADR,  and  foley 
Original  music  and  sound  effects 
Non-linear  video  editing 
Archival  and  Restoration 
DVD  authoring 


RECENT  PROJECTS  INCLUDE: 

Nanette  Burstein  &  Jordan  Roberts 
Film  School 

Bill  Plympton 
Hair  High 

Bobby  Abate  &  Peggy  Ahwesh 
Certain  Women 

Diane  Bonder 
Closer  to  Heaven 

Tareque  Masud 
The  Clay  Bird 

MERCERMEDIA.COM 


which  contribute  to  organizational,  manage- 
ment and  programming  issues  which  influ- 
ence the  media  arts  activities.  Contact  Sherry 
Miller  Hocking,  Program  Director  at 
Experimental  Television  Center  deadlines  for 
application  are  July  1 ,  and  October  1 . 

NEW  YORK  FOUNDATION  FOR  THE  ARTS,  in  col- 
laboration with  arts  councils  and  cultural  organ- 
izations across  New  York  State,  is  offering 
Special  Opportunity  Stipends  (SOS)  designed 
to  help  individual  artists  of  all  disciplines  take 
advantage  of  unique  opportunities  that  will  sig- 
nificantly benefit  their  work  or  career  develop- 
ment. Literary,  media,  visual,  music  and  per- 
forming artists  may  request  support  ranging 
from  $100  to  $600  for  specific,  forthcoming 
opportunities  that  are  distinct  from  work  in 
progress.  Please  note:  SOS  is  only  available  to 
artists  NOT  living  in  the  five  boroughs  of  New 
York  City.  For  further  information,  please  con- 
tact Shawn  Miller,  by  phone  at  (212)  366-6900 
x350  or  by  email  at  smiller@nyfa.org. 

PACIFIC  ISLANDERS  IN  COMMUNICATIONS 
(PIC)  OPEN  DOOR  COMPLETION  FUNDS  arepro- 
vided  for  the  final  preparations  of  broadcast 
masters  of  Pacificlslander-themed  programs 
intended  for  national  public  television. 
Categories:doc,  performance,  children's  &  cul- 
tural affairs  programming.  PIC  is  particularlyin- 
terested  in  projects  that  examine  &  illuminate 
realities  of  Pacific  Islandenssues  such  as  but 
not  limited  to  diversity,  identity,  &  spirituality. 
Afull-length  rough  cut  must  be  submitted  w/ 
application.  Awards  up  to  $50,000. Deadline: 
ongoing.  Contact:  Gus  Cobb-Adams,  Media 
Fund,  PIC,  1221  Kapi'olani  Blvd.  6A-4, 
Honolulu,  HI  96814;  Tel.;  (808)  591-0059  x  16; 
fax:  591-1114;  gcobb-adams@piccom.org; 
applications  available  at  www.piccom.org. 

TEXAS  FILMMAKERS'  PRODUCTION  FUND:  is 

an  annual  grant  awarded  to  emerging  film  & 
video  artists  who  are  residents  of  Texas. 
Grants  range  from  $1,000  to  $15,000  for 
regionally  produced  projects  for  any  genre.  In 
Sept.  the  Fund  will  award  $75,000  in  grants 
ranging  from  $1,000-$1 5,000.  Deadline:  June 
1 .  Appl.  avail,  at  Texas  Filmmakers'  Production 
Funds,  1901  East  51st  St.,  Austin,  TX  78723; 
(512)  322-0145  or  www.austinfilm.org. 

THE  SEVENTH  GENERATION  FUND  provides 
technical  assistance  in  the  form  of  workshops, 
conferences,  training,  and  grant  funding  for 


projects.  Small  grants  range  from  $600  to 
$10,000  per  year  in  assistance  to  seed  an 
emerging  organization,  to  help  cover  the  gen- 
eral operation  costs  of  an  existing  organiza- 
tion or  specific  project,  or  to  cover  related 
expenses  that  help  a  project  accomplish  its 
work  and  fulfill  its  mission  in  the  community; 
Training  &  Technical  Assistance  Financial  sup- 
port of  $600  to  $5,000  per  year  to  facilitate 
project-specific  trainign,  pay  for  experts/spe- 
cial consultants,  and  /pr  provide  for  other 
capacity  building  needs.  (Training  and 
Technical  Assistance  grants  are  also  available 
for  projects  to  acquire  new  skills  through 
regional  workshops,  national  forums,  and 
special  conferences);  and  mini-grants  are 
offered  from  $50  to  $500.  For  more  informa- 
tion, www.7genfund.org.  Deadline  is:  June  1, 
September  1,  2005. 

MICROCINEMAS  SCREENINGS 

4TH  ANNUAL  BARE  BONES  SCRIPT-2-SCREEN 
FEST  &  SCREENWRITERS  CONFERENCE  in 

Tulsa,  OK  is  looking  for  independent 
screenwriters  &  filmmakers  to  enter  com- 
petition in  variety  of  categories:  feature 
screenplays  &  movies,  short  movies  & 
screenplays,  teleplays,  trailers,  doc,  ani- 
mation, actor  monologues,  Shoot  'N  OK 
location  micro-screenplay  will  get  pro- 
duced. Submission  Deadline  for  the 
Festival,  which  will  take  place  between 
October  13-16  is  July  31,  2005.  For  more 
details  email  scnpt2screenfest 

©yahoo.com  or  visit  www.scnpt2screen 
filmfestival.com. 

DOCUCLUB'S    IN-THE    WORKS    PROGRAM 

offers  filmmakers  a  safe  environment  to 
screen  a  rough-cut  of  their  documentaries 
before  an  audience  of  their  peers  and  lovers 
of  the  form.  The  audience  is  encouraged  to 
give  constructive  feedback  about  the  struc- 
ture, content,  characters  and  clarity  of  the 
film  in  a  post-screening  discussion  facilitated 
by  an  experienced  filmmaker.  A  cheese  and 
wine  reception  will  follow  to  give  everyone  a 
chance  to  network.  Submission  require- 
ments can  be  found  on  our  website  at 
http://docuclub.org  /filmdirectory/submis- 
sions.html  If  you  have  any  questions  please 
email  David  at  mail@docuclub.org  or  call  (212) 
582-3055. 


58    The  Independent  I  December  2004 


MICROCINEMA  S  INDEPENDENT  EXPOSURE 
2005,  an  ongoing  microcinema  screening  pro- 
gram of  international  short  films,  videos  &  dig- 
ital works  has  been  presented  hundreds  of 
times  in  35  countries  and  Antarctica  and  2005 
is  its  tenth  season.  Seeking  short  video,  film  & 
digital  media  submissions  of  15  mm.  or  less 
on  ongoing  basis  for  ongoing  screening  and 
touring  program.  Artists  qualify  for  a  nonex- 
clusive distribution  deal.  Looking  for  short  nar- 
rative, alternative,  humorous,  dramatic,  erotic, 
animation,  etc.  Submit  DVD  or  VHS  (NTSC/ 
PAL)  labeled  w/  name,  title,  length,  phone  #  & 
support  materials,  incl.  photos.  Submissions 
will  not  be  returned.  Contact:  Joel  S.  Bachar, 
Microcinema  International,  531  Utah  St.,  San 
Francisco,  CA  941 1 0;  info@microcinema.com; 
www.microcinema.com. 

POTHOLE  PICTURES,  a  420  seat  movie  house 
in  Shelbume  Falls,  MA,  seeks  films  for  "Meet 
the  Filmmaker"  series,  which  features  a  dis- 
cussion &  reception  following  your  film's 
screening.  Any  length/genre.  Format:  35mm, 
DVD  or  VHS.  Connection  to  New  England 
through  subject  matter,  filming  locations,  or 
hometown  of  filmmakers,  helpful  but  not  nec- 
essary. Send  VHS  or  DVD  preview  to  Fred 
DeVecca,  Pothole  Pictures,  Box  368, 
Shelbume  Falls,  MA  01370;  frogprod@sky 
wayusa.com. 

THE  IDEA  WORKSHOP  is  an  intimate  pitching 
session  where  accepted  filmmakers  pitch 
their  ideas  to  industry  representatives  who,  in 
turn,  provide  feed  back  on  the  strength  of  the 
pitch  and  the  potential  markets  for  the  film's 
subject  matter.  This  way,  they  get  to  practice 
their  pitch,  and  the  audience  gets  a  sense  of 
how  this  all-important  facet  of  documentary 
funding  and  production  happens  as  well. 
Submission  requirements  can  be  found  on  our 
website  at  http://docuclub.org/filmdirectory 
/submissions. html  If  you  have  any  questions 
please  email  David  at  mail@docuclub.org  or 
call  (212)  582-3055. 

TIMEBASE,  a  new  moving  image  series  in 
Kansas  City,  seeks  innovative  short  films, 
videos,  installations  &  web-based  projects. 
No  entry  fee.  Rolling  deadline.  Send  VHS, 
DVD,  or  CD-Rom:  Timebase,  5100  Rockhill  Rd 
Haag  202,  KC  MO  641 10.  Tel:  (816)  235-1708; 
www.time-base.org. 


GALLERIES  EXHIBITIONS 

EASTERN  STATE  PENITENTIARY  HISTORIC 
SITE  in  PA  seeks  artists  for  exhibition  at  the 
site.  Some  funding  avail,  for  media  arts. 
Proposals  are  reviewed  annually  each  fall. 
See  website  for  info/deadline.  To  request 
an  application,  or  schedule  an  orientation 
tour,  contact  Brett  Bertolino  at  (215)  236- 
51 1 1  ex.  12,  or  at  bb@EasternState.org,  or 
visit  www.easternstate.org. 

TOURING  PROGRAMS 

FREE  FORM  FILM  FESTIVAL  is  a  year-round 
touring  event  created  by  loaf-i.com  and 
inner  mission  productions  is  now  taking 
submissions.  Seeking  films/videos  of  all 
formats  and  genres  (but  please  submit  on 
NTSC  VHS  for  initial  consideration).  The 
FFFF  brings  an  eclectic  collection  of  inno- 
vative films  to  cities  and  towns  across  the 
United  States.  Enter  now  to  be  considered 
for  our  west  coast  tour  in  September.  Enter 
anytime  for  other  tours/exhibitions.  The 
FFFF  is  non-competitive,  but  offers  oppor- 
tunity for  screenings  all  over  the  U.S.  Entry 
fee  is  $15  for  residents  of  the  U.S.  and 
Canada.  There  is  no  entry  fee  for  residents 
of  other  countries.  See  freeformfilm.org  for 
details  and  entry  forms. 

REALITY  BITES,  the  unique  restaurant/ screen- 
ing room  launched  by  renowned  documentar- 
lan  Steven  M  Manin,  is  currently  accepting 
submissions  of  original  content  of  any  and  all 
genres/lengths  for  exhibition.  Reality  Bites  is 
located  in  Nyack,  NY,.  For  more  info,  call 
845.358.8800,  or  visit  www.realitybites.net. 

BROADCASTS  CABLECASTS 

HENDERSON  TELEVISION  (HTV),  Henderson 
State  University's  cablecast  network  seeks 
short  films  of  all  genres  to  screen  as  part  of 
its  weekly  television  programming.  Student 
projects  are  given  priority,  but  everyone  is 
encouraged  to  submit  their  work.  Send 
contact  information,  filmmaker's  bio,  a  brief 
description  of  the  work  and  a  VHS,  SVHS, 
DV  or  DVD  copy  to:  HTV,  1 100  Henderson 
Street,  HSU  Box  7582,  Arkadelphia,  AR, 
71999.  (870)  230-5215. 


RESTRICTED  ® 


UNDER  17  REQUIRES  ACCOMPANYING  I 
PARENT  OR  ADULT  GUARDIAN 


PERVASIVE  DRUG  A  ALCOHOL  ABUSE,  LANGUAGE 
&  SOME  SEXUAL  CONTENT/NUDITY 


December  2004  I  The  Independent  59 


SCHOOL  OF  THE  ARTS 


ANNUAL 


COLUMBIA 
UNIVERSITY 

FILM  FESTIVAL 

2005 

NEW  YORK  CITY— MAY  Ft<>8t-* 

SYMPHONY  SPACE 

McGRAW  HILL 

LOS  ANGELES— JUNE  7T-H «  9T-H 
PACIFIC  DESIGN  CENTER 


WWW.CUFILMFEST.COM 

212.854.1547 


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AQUARIUS  HEALTH  CARE  MEDIA  is  expanding 
our  list  of  quality  award  winning  videos/DVD's 
on  Life  Challenges.  We  have  a  strong  interest 
in  programs  on  aging,  caregiving,  teen/youth 
issues,  disabilities,  chronic  disease,  comple- 
mentary therapies  and  mental  health  issues. 
Visit  www.aquariusproductions.com  and 
email  brief  synopses  to  lbk@aquariusproduc- 
tions.com  or  contact  Aquarius  Health  Care 
Videos  at  888-440-2963,18  No  Main  St, 
Sherborn,  MA  01770. 

CAPE  COD  FILM  SOCIETY  SCREENING  SERIES 

of  Brewester,  MA,  seeks  films  &  videos  of  all 
types  on  an  ongoing  basis.  Films  can  be  any 
length,  genre  or  style,  but  should  be  the  type 
of  work  that  will  stimulate  discussion,  as  well 
as  entertaining  a  general  adult  audience.  We 
hold  several  screenings  a  year,  including  a 
short  film  competition  each  spring,  and  gener- 
ally ask  filmmakers  to  present  their  work  in 
person.  There  are  no  fees  and  some  screen- 
ings include  a  nominal  honorarium. Please 
send  work  on  VHS,  DVD,  or  mim-DV  w/  film- 
maker bio  and  synopsis.  Also  indicate  your 
availability  to  appear  with  your  work  for  Q&A. 
Send  to:  Rebecca  M.  Alvin,  Cape  Cod  Film 
Society  Series,  PO  Box  1727,  Brewster,  MA 
02631-7727.  For  more  info,  visit  www.geoci 
ties.com/capecodfilm  or  filmsociety@com 
cast.net 

MADCAT  seeks  provocative  and  visionary 
films  and  videos  directed  or  co-directed  by 
women.  Films  can  be  of  any  length  or  genre 


and  produced  ANY  year.  MadCat  is  commit- 
ted to  showcasing  work  that  challenges  the 
use  of  sound  and  image  and  explores  notions 
of  visual  story  telling.  All  subjects/topics  will 
be  considered.  Submission  Fee:  $10-30  slid- 
ing scale.  Pay  what  you  can  afford.  For  an 
entry  form  and  more  details  go  to  www.mad- 
catfilmfestival.org  or  call  415  436-9523. 
Preview  Formats:  VHS  or  DVD.  Exhibition 
Formats:  35mm,  16mm,  Super8,  Beta  SP, 
Mini  DV,  VHS.  All  entries  must  include  a  SASE 
for  return  of  materials.  Early  Deadline:  March 
25,  2005.  Final  Deadline:  May  13,  2005. 

MINDJAKK  DIGITAL  STUDIOS  is  seeking  sub 
missions  for  their  new  show  called 
Independent  Axis,  which  showscases  inde- 
pendent art:  shorts  primarily  and  videos,  trail- 
ers, web  short,  flash  animation  and  artists 
showcase.  Submissions  are  free  of  charge 
and  will  be  broadcast  to  a  possible  80,000 
households  on  a  NBC  affiliate.  You  can  find 
out  more  information  about  the  show  or  us  at 
www.mind|akk.com. 

URBAN  MEDIAMAKERS  FILM  FESTIVAL  2005 
is  accepting  submissions  for  the  4th  Annual 
Urban  Mediamakers  Film  Festival  to  be  held  in 
Atlanta,  Georgia,  October  14-16,  2005.  All 
genres  accepted  including  short,  feature,  and 
documentaries  on  VHS  and  DVD  (DVD  copies 
must  include  a  VHS  as  well).  Deadline  for  sub- 
missions is  August  1 ,  2005  with  a  entry  fee  of 
$10.  Please  mail  a  VHS/DVD  copy  of  your  film 
and  include  a  synopsis  of  the  film,  length  of 
film,  a  short  bio  and  resume  of  the 
director/producer/writer.  Also  include  press 
materials  if  they  are  available.  Maill  all  entries 
to:  Urban  Mediamakers  Film  Festival  2005, 
PMB  315,  1353  Riverstone  Parkway,  Suite 
120,  Canton,  Georgia  30114,  Attention: 
Festival  Coordinator.  For  more  information 
visit  www.urbanmediamakers.com  or  call 
770.345.8048. 


60    The  Independent  I  December  2004 


9™ANNUAL 
LOS  ANGELES 
INTERNATIONAL 
SHORT  FILM  FESTIVAL 

CALL  FOR  ENTRIES 

FILMS  &  SCRIPTS 

FINAL  DEADLINE  JUNE  17,  2005 

SUBMIT  ONLINE  AT  LASHORTSFEST.COM  TEL  :  323-851-9100 


SILVERDOCS 

AFI/Discovery  Channel  Documentary  Festival 

June  14-19,  2005 


1 


"A  fantastic,  two  year  old  documentary  film  festival 

-  USA  Today 


1     *  1 

r^^H^L   wLM 

v.i 

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CONFERENCE  REGISTRATION 

Register  early  for  priority  access  to  top  executives 
Register  on-line  at  SILVERDOCS.com 


SILVI    DOCJ 


6  days  of  screenings,  more  than  75  films 
3-Day  International  Documentary  Conference  -  June  15-17,  2005 

All  in  the  Washington,  DC  area— where  politics,  media  and  art  converge 


ILVERDOCS.com 


THANK  YOU 


The  Association  of  Independent  Video  and  Filmmakers 
(AIVF)  provides  a  wide  range  of  programs  and  services 
for  independent  moving  image  makers  and  the  media 
community,  including  The  Independent  and  a  series  of 
resource  publications,  seminars  and  workshops,  infor- 
mation services,  and  arts  and  media  policy  advocacy. 

None  of  this  work  would  be  possible  without  the 
generous  support  of  the  AIVF  membership  and  the 
following  organizations: 

We  also  wish  to  thank  the  following  individuals  and 
organizational  members: 


rsf 


Slate  cJ  »«•  Art, 

NYSCA 


Adobe  Systems,  Inc. 

City  of  New  York  Dept.  of  Cultural  Affairs 

Discovery  Wines 

Experimental  Television  Center  Ltd. 

Forest  Creatures  Entertainment,  Inc. 

Home  Box  Office 

The  Jewish  Communal  Fund 

John  D.  and  Catherine  T.  MacArthur  Foundation 

NAMAC 

The  Nathan  Cummings  Foundation 

The  National  Endowment  for  the  Arts 

New  York  State  Council  on  the  Arts 

The  Norman  and  Rosita  Winston  Foundation 

Panasonic  USA 

Public  Media,  Inc. 

Yuengling  Beer 


BUSINESS/INDUSTRY  MEMBERS:  AL:  Cypress  Moon  Productions; 
AZ:  Ascension  Pictures;  CA:  Arrowire  LLC;  Groovy  Like  a  Movie; 
llluminaire  Entertainment,  Media  Del'Arte;  San  Diego  Asian  Film 
Foundation;  SJPL  Films,  Ltd.;  CO:  Pay  Reel;  CT:  Anvil  Production; 
DC:  Corporation  for  Public  Broadcasting;  FL:  Academy  Leader  Inc; 
Key  West  Films  Society;  New  Screen  Broacasting;  GA:  Lab  601 
Digital  Post;  IL:  Shattering  Paradigms  Entertainment,  LLC;  MA: 
Exit  One  Productions;  MD:  NewsGroup,  Inc.;  TLF  Limited 
Management;  Ml:  Logic  Media  LLC;  NH:  Kinetic  Films;  NY: 
American  Montage;  Baraka  Productions;  Cypress  Films;  DeKart 
Video;  Deutsch/Open  City  Films;  Docurama;  Forest  Creatures 
Entertainment;  getcast.com;  Gigantic  Brand;  Greenhouse 
Pictures  LLC;  Harmonic  Ranch;  Lantern  Productions;  Larry  Engel 
Productions  Inc.;  Lightworks  Producing  Group;  Mad  Mad  Judy; 
Mercer  Media;  Missing  Pixel;  Off  Ramp  Films,  Inc.;  On  the  Prowl 
Productions;  OVO;  Possibilites  Unlimited;  Production  Central; 
Range  Post;  Robin  Frank  Management;  Rockbottom 
Entertainment,  LLC;  Triune  Pictures;  United  Spheres  Production; 
OR:  Art  Institute  of  Portland;  Rl:  The  Revival  House;  WA:  Sound 
Wise;  Two  Dogs  Barking;  Singapore:  Crimson  Forest  Films 

NONPROFIT  MEMBERS:  AR:  Henderson  State  University; 
AZ:  Pan  Left  Productions;  CA:  Bay  Area  Video  Coalition;  California 
Newsreel;  Everyday  Gandhis  Project;  Film  Arts  Foundation; 
International  Buddhist  Film  Festival;  NALIP;  New  Images 
Productions;  Sundance  Institute;  USC  School  of  Cinema  and  TV; 
CO:  Denver  Center  Media;  Free  Speech  TV:  CT:  Film  Fest  New 
Haven;  Hartley  Film  Foundation;  DC:  American  University  School 
of  Communication;  CINE;  Gaea  Foundation;  FL:  Miami 
International  Film  Festival;  University  of  TampaTGA:  Image  Film 
and  Video  Center;  HI:  Pacific  Islanders  in  Communications;  IL:  Art 
Institute  of  Chicago  (Video  Data  Bank);  Community  Television 
Network;  Department  of  Communication/NLU;  Kartemquin  Films; 
IN:  Fort  Wayne  Cinema  Center;  KY:  Appalshop;  Paducah  Film 
Society;  MA:  CCTV;  Documentary  Educational  Resources; 
Harvard  University,  OsCLibrary;  LTC;  MD:  7  Oils  Production; 
Laurel  Cable  Network;  Silverdocs:  AFI  Discovery  Channel  Doc 
Festival;  ME:  Maine  Photographic  Workshop;  Ml:  Ann  Arbor  Film 
Festival;  MN:  IFP/MSP;  Walker  Art  Center;  MO:  Webster 
University  Film  Series;  NC:  Calcalorus  Film  Foundation;  Duke 
University,  Film  &  Video  Dept.;  University  of  North  Carolina,  Dept. 
of  Broadcast  and  Cinema;  UNC,  Wilmington;  NE:  Nebraska 
Independent  Film  Project/AIVF  Salon  Lincoln;  Ross  Media  Center, 
UN-Lincoln;  NJ:  Black  Maria  Film  Festival;  Capriole  Productions; 


Freedom  Film  Society,  Inc.;  Princeton  University,  Program  in 
Visual  Arts;  NM:  Girls  Film  School;  University  of  New  Mexico;  NY: 
ActNow  Productions;  Arts  Engine;  Cornell  Cinema;  Council  for 
Positive  Images,  Inc.;  Creative  Capital  Foundation;  Crowing 
Rooster  Arts;  Educational  Video  Center;  Film  Forum;  Film  Society 
of  Lincoln  Center;  Firelight  Media;  International  Film  Seminars; 
LMC-TV;  Manhattan  Neighborhood  Network;  Melted.org;  National 
Black  Touring  Circuit;  National  Black  Programming  Consortium; 
National  Musuem  of  the  American  Indian;  National  Video 
Resources;  New  York  University,  Cinema  Studies;  New  York 
Women  in  Film  and  Television;  Parnassus  Works;  POV/The 
American  Documentary;  RIT  School  of  Film  and  Animation;  School 
of  Visual  Arts,  Film  Department;  Squeaky  Wheel;  Standby 
Program;  Stonestreet  Studios  Film  and  TV  Acting  Workshop; 
Stony  Brook  Film  Festival;  Syracuse  University;  Upstate  Films, 
Ltd.;  Witness;  Women  Make  Movies;  OH:  Athens  Center  for  Film 
And  Video;  Independent  Pictures/AIVF  Ohio  Salon;  Media  Bridges 
Cincinatti;  School  of  Film,  Ohio  University;  Wexner  Center; 
Northest  Film  Center;  The  Oregon  Film  &  Video  Foundation;  PA: 
American  Poetry  Center;  Philadelphia  Independent  Film  &  Video 
Assoc.  (PIFVA);  Pittsburgh  Filmmakers;  Scribe  Video  Center; 
TeamChildren.com;  Rl:  Flickers  Arts  Collaborative;  TN:  Indie 
Memphis  Film  Festival;  TX:  Austin  Film  Society;  Southwest 
Alternate  Media  Project;  UT  Sundance  Institute;  WA:  Seattle 
Central  Community  College;  Thurston  Community  Television; 
Canada:  Banff  Centre  Library;   France:  The  Carmago  Foundation 

FRIENDS  OF  AIVF:  Angela  Alston,  Sabina  Maja  Angel,  Tom 
Basham,  Aldo  Bello,  David  Bemis,  Doug  Block,  Liz  Canner,  Hugo 
Cassirer,  Williams  Cole,  Anne  del  Castillo,  Arthur  Dong,  Martin 
Edelstein,  Esq.,  Aaron  Edison,  Paul  Espinosa,  Karen  Freedman, 
Lucy  Garrity,  Norman  Gendelman,  Debra  Granik,  Catherine  Gund, 
Peter  Gunthel,  David  Haas,  Kyle  Henry,  Lou  Hernandez,  Lisa 
Jackson,  John  Kavanaugh,  Stan  Konowitz,  Leonard  Kurz,  Lyda 
Kuth,  Steven  Lawrence,  Bart  Lawson,  Regge  Life,  Juan 
Mandelbaum,  Diane  Markrow,  Tracy  Mazza,  Leonard  McClure, 
Daphne  McDuffie-Tucker,  Jim  McKay,  Michele  Meek,  Robert 
Millis,  Robert  Millis,  Richard  Numeroff,  Elizabeth  Peters,  Laura 
Poitras,  Robert  Richter,  Hiroto  Saito,  Larry  Sapadin,  James 
Schamus,  John  Schmidt,  Nat  Segaloff,  Robert  Seigel,  Gail  Silva, 
Innes  Smolansky,  Barbara  Sostaric,  Alexander  Spencer,  Miriam 
Stern,  George  Stoney,  Rhonda  Leigh  Tanzman,  Rahdi  Taylor,  Karl 
Trappe,  Jane  Wagner,  Bart  Weiss 


May  2005  I  The  Independent    63 


THE  LIST 

WHAT  HAS  CHANGED 
(OR  NOT)  IN  INDIE  FILM? 

By  Lindsay  Gelfand 

Given  that  the  perception  of  "independent  film"  has  evolved  in  recent  years, 

we  posed  the  following  questions  to  our  favorite  filmmakers  this  month: 

What  are  the  things  about  independent  film  that  will  never  change?  Or  should  never  change? 


"The  spirit  of  independent  cinema  rests  in  the  autuer's  will-  answer  to  someone  is  the  giving  up  of  control.  As  a  writer,  a 

ingness  to  go  to  whatever  lengths  needed  to  get  the  story  told  in  producer,  an  actor,  and  a  director,  true  independence  assures  me 

the  way  that  serves  the  story,  not  popular  appeal.  This,  to  me,  is  that  the  vision  I  set  out  to  make  will  become  a  reality." 

truly  independent  cinema."  — Dave  West,  writer-director  Puddlejumper 

— Genevieve  Anderson,  writer/director  and  The  Do  Over,  Sandbox  Pictures 


"We'll  never  be  able  to  get  distribution  unless  we  sucker  a  star 
into  an  "Oscar"  role,  make  a  film  with  chainsaws  and  severed 
arteries,  or  borrow  more  money  to  pay  for  a  team  of  PR  execs 
and  producers  reps  to  get  us  into  Sundance.  But  what  the  hell, 
we'll  still  have  our  vision,  our  integrity,  and  our  dream. 
Hopefully  that  will  never  change." 

— Stacey  Childers,  producer/director, 
Delivery  Boy  Chronicles 

"Independent  film  is  and  always  will  be  about  the  passion  to 
tell  a  certain  story.  That  passion  goes  beyond  focus  groups  and 
marketing  which  may  come  later,  but  a  true  indie's  lifeblood 
stems  from  a  writer,  director,  or  producer's  obsession  to  make, 
by  any  means  necessary,  their  film,  their  way." 

— Kyle  Schickner,  writer-director,  Strange  Fruit, 

Fencesitter  Films 

"Independent  film  still  allows  a  writer-director's  vision  to  get 
to  the  screen  with  less  interference  from  studio  executives  justi- 
fying their  salaries.  So,  basically,  less  hands  in  the  cookie 
jar.. .'cause  we  really  like  our  cookies." 

— Michael  Irpino  &C  Joe  Dietl,  writer-directors, 

The  Thin  Pink  Line 

"The  main  thing  about  independent  film  that  will  never 
change  is  the  freedom  that  it  offers.  By  the  pure  definition  of 
independence  it  offers  you  to  make  the  decisions  and  in  the 
making  of  a  film  that  is  huge.  The  worst  thing  about  having  to 


"Independent  filmmaking  should  always  embody  the  spirit 
of  the  auteur,  whether  it's  DIY  or  guerilla  style.  It  should  be 
small,  lightweight,  and  turn-on-a-dime  agile  in  getting  risk-tak- 
ing and  highly  original  ideas  onto  film  or  video.  No  bloat  and 
safety  net  here." 

— Sam  Chen,  director/animator,  Eternal  Gaze 

"The  only  thing  about  independent  film  I  can  honestly  say 
hasn't  and  should  never  change  is  the  strength,  clarity,  and  diver- 
sity of  the  voice  (and  voices)  that  create  it.  Without  those  voic- 
es, the  kinds  of  stories  that  touch  you,  change  you,  and  impact 
you  directly  would  never  exist.  To  my  mind,  that's  the  heart  of 
independent  film,  regardless  of  how  it  is  packaged  and  made." 

— Eli  Brown,  director/editor, 
Marry  Me:  Stories  from  the  San  Francisco  Weddings 

"I  think  what  will  never  change  about  independent  film  is 
that  there  will  always  be  hundreds  of  people,  some  of  them  tal- 
ented, and  some  of  them  not,  who  are  compelled,  for  better  or 
for  worse,  to  share  their  vision  and  art  with  the  world.  What 
should,  and  I  would  imagine,  never  will  change,  is  that  inde- 
pendent cinema  has  been  and  will  be  free  from  commercial 
influences,  the  absurd  'trend'  following  studio  impulses  or  doc- 
trines and  the  heavy  hand  of  product  placement  and  corporate 
governance.  Independent  cinema  will  always  have  room  to  be 
fresh  and  free,  and  unique  in  its  vision  and  combined  images." 
— Orly  Ravid,  film  distributor/grass  roots  marketer, 

Baise  Moi 


64  The  Independent  I  May  2005 


They  make 
We  sell  it. 


The  ITN  Archive  holds  one  of  the  biggest  collections  of  news  material  anywhere 
in  the  world,  and  includes  Reuters  Television,  several  international  newsreels  and 
British  Independent  Television  News,  all  fully  searchable  at  www.itnarchive.com 


ITN  Archive  (New  York) 

ITN  Archive  (Los  Angeles) 

The  Reuters  Building 

3500  West  Olive  Ave 

3  Times  Square 

Suite  1490 

4th  Floor 

Burbank 

New  York 

CA  91505 

NY  10036 

Tel:  818  953  4115 

Tel:  646  223  6671 

Fax:  818  953  4137 

Fax:  646  233  6675 

Email:  lasales@itnarchive.com 

Email:  nysales@itnarchive.com 

ITN  Archive 


J 

Affordable  HD  is  here* 


ARRIVING  APRIL  1 8 

NAB  BOOTH  #C4526,  LAS  VEGAS 


www.jvc.com/pro 


a  magazine  for  video  and  filmmakers 


THE 


A  Publication  of  The  Association  of  Independent  Video  and  Filmmakers 

www.aivf.org 


They  make  t 
We  sell  it. 


The  ITN  Archive  holds  one  of  the  biggest  collections  of  news  material  anywhere 
in  the  world,  and  includes  Reuters  Television,  several  international  newsreels  and 
British  Independent  Television  News,  all  fully  searchable  at  www.itnarchive.com 


ITN  Archive  (New  York) 

The  Reuters  Building 

3  Times  Square 

4th  Floor 

New  York 

NY  10036 

Tel:  646  223  6671 

Fax:  646  233  6675 

Email:  nysales@itnarchive.com 


ITN  Archive  (Los  Angeles) 

3500  West  Olive  Ave 

Suite  1490 

Burbank 

CA  91505 

Tel:  818  953  4115 

Fax:  818  953  4137 

Email:  lasales@itnarchive.com 


ITN  Archive 


t& 


& 


AIVF  Screenwriter 
Mentorship  2005 

DEADLINE:  Monday,  June  6,  2005 


For  complete  submissions  details,  visit 

www.aivf.org 


AVF 


association  of  independent 
video  and  filmmakers 


The  AIVF  Screenwriter  Project  is  a  mentorship  program  that  aims  to  give 
independent  screenwriters,  writer-producers,  and  writer-directors  an 
opportunity  to  develop  their  scripts.  Over  a  four-month  period, 
participants  will  receive  professional  industry  story  notes,  consultations 
and  script  coaching,  as  well  as  peer  support  and  feedback.  The  AIVF 
Screenwriter  Project  seeks  writers  who  are  actively  working  on  a  screenplay 
they  intend  to  have  produced  or  marketed. 


Sundance  Online  Film  Festival 


WWW.SUNDANCE.ORG 

LIVE  THRU  JUNE  20,  2005 

FREE  FROM  ANYWHERE  IN  THE  WORLD 


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EL  ^ 

& — *^-M 

p  ^    *-*.  *^ 

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m .  ^B4jh.  ^  >  .         "*■  1 

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ITS           ^    *      » 

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y'    f   i  1        '   ■*  J; 

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Chamaco  (Kid)  (2004) 


Short  films  from  the 
Sundance  Film  Festival,  ground- 
breaking work  created  just  for  the 
Internet,  exclusive  interviews  with 
filmmakers  from  Craig  Brewer 
(Hustle  &  Flow)  to  Eugene  Jarecki 
(Why  We  Fight),  and  live  coverage 
from  the  streets  of  Park  City  are  all 
part  of  what  you'll  find  on  the 
Sundance  Online  Film  Festival. 


Log  on  now  through  June  20  to 
experience  the  best  of  the  2005 
Sundance  Film  Festival  for  free 
from  anywhere  in  the  world. 


Husk (2004) 


SOFT 


20O5 

Sundance  Online  Film  Festival 


>ove  (2005) 


Volume  28  Number  5 

Cover:  Hustle  &  Flow  star  Terrence  Howard  at  this  year's  Sundance  Film  Festival 
(Fred  Hayes/Wirelmage.com) 


Contents 


Upfront 


Features 


5  EDITOR'S  LETTER 

6  CONTRIBUTORS 

8  MEMBERS  IN  THE  NEWS 

9  NEWS 

New  cable  station  caters  to  18-34-year-olds;  Lake 
Placid  Film  Festival  is  put  on  hold;  filmmaker  fails 
to  sell  website  domain  on  eBay 
By  Amy  Thomas 

1 3  UTILIZE  IT 

Tools  and  news  you  can  use 
By  David  Aim 

14  FIRST  PERSON 

A  film  publicist  debunks  industry  myths 
By  Jessica  Edwards 

17  DOC  DOCTOR 

Reclaiming  a  beginner's  self-confidence; 
experimental  techniques  for  serious  content? 
By  Fernanda  Rossi 

19  PROFILE 

Michael  Kang  and  his  new  film  The  Motel 
By  PJ  Gach  and  Rick  Harrison 

22  FESTIVAL  CIRCUIT 

Reflections  from  the  hi/lo  Film  Festival  founder 
By  Marc  Vogl 

26  Q/A 

Terrence  Howard's  indie  acting  success,  including 
this  year's  Sundance  darling  Hustle  &  Flow 
By  Rebecca  Carroll 

32  ON  THE  SCENE 

Elvis  Mitchell  guest  curates  the  IFP/LA 
By  Rick  Harrison 


36  CHANGES  AT  IFP  WEST 

Speculations  send  shivers  throughout  the  industry 
By  Elizabeth  Angell 

40  WHAT  A  LONG  FREAKY  HEAD-TRIP 
IT'S  BEEN 

Bradley  Beesley  documents  The  Flaming  Lips  in 
The  Fearless  Freaks 
By  Nick  Schager 

44  PORTLAND'S  CREATIVE  CLASS 

Behind  the  scenes  at  PDX 
By  Brian  Libby 

48  PARTICIPANT  PRODUCTIONS 

An  eBay  billionaire  believes  humanist 
films  can  sell 

By  Fiona  Ng 

52  BOOKS 

Roger  Corman's  how-to  is  an  unusual  manual  for 
tomorrow's  filmmakers 
By  Lisa  Selin  Davis 

Listings 

54  FESTIVALS 
60  CLASSIFIEDS 
63  NOTICES 
65  WORK  WANTED 

70  SALONS 

71  THANKS 

72  THE  LIST 


www.aivf.org 


June  2005  I  The  Independent    3 


Combine  work  in 
with  fiction, 
poetry  or  playwriting  in  our  unique 
interdisciplinary  MFA  degree  program. 
Students  are  fully  funded  by 
annual  fellowships  of$l  7,500. 

512/471.1601    •   \vww.utexas.edu/academic/mcw 

RECENT  GUEST  SCREENWRITERS 

William  Broyles    •    Tim  McCanlies    •    Mark  Medoff 
Anne  Rapp    •    Steven  Soderbergh    •    Ed  Solomon 

THE  UNIVERSITY  OF  TEXAS  AT  AUSTIN 


"National  exposure,  viewer  feedback,  cachet  in  film  circles,  and. 

yes,  money  that  can  help  pay  off  production  costs  are  some  of 

the  benefits  of  having  a  film  selected  by  TV's  longest-running 

nonfiction  film  series."  -Bill  Keveney,  USA  Today 


P.O.V.  Announces 

Season  19  Open  Call  For  Entries  and 

The  Diverse  Voices  Project  II 

Diverse  Voices  Project  is  supported  by  the  Corporation  for  Public  Broadcasting  a  private  nonprofit  corporation  funded  by  the  American  people. 
NEW  ONLINE  SUBMISSION  PROCESS 


Apply  online! 

Please  visit  us  at 

www.pbs.org/pov/callforentries 

to  apply. 

Questions? 

Call  P.O.V.  at 
1-800-756-3300  ext.  380 


Call  For  Entries:  P.O.V..  public  television's  premiere  showcase  for  independent 

non-fiction  film  seeks  submissions  from  all  perspectives  to  showcase  in  annual 

PBS  series.  P.O.V.  welcomes  all  subjects,  styles  and  lengths.  Unfinished  films 

may  be  eligible  for  completion  funds.  Open  Call  guidelines  are  available  for 

review  at  www.pbs.org/pov/forproducers 

The  Diverse  Voices  Project  II.  with  up  to  $80,000  in  coproduction  funding 
available  to  emerging  filmmakers,  is  P.O.V.'s  initiative  to  support  stories  about 
diverse  communities*  produced  by  emerging  makers.  Guidelines  for  applying  to 

the  Diverse  Voices  Project  II  are  available  for  review  at  www  pbs.org/pov/dvp 

"Please  visit  the  P.O.V.  website  for  eligibility  requirements. 


The  submission  deadline  for  the  2006  Season  and  DVP II  is  July  1, 2005 


THE 

in 


ent 


Publisher:  Bienvenida  Matias 

[publisher@aivf.org] 

Editor-in-Chief:  Rebecca  Carroll 

(editor@aivf.org) 

Managing  Editor:  Shana  Liebman 

[independent@aivf.org] 

Assistant  Editor:  Rick  Harrison 

[fact@aivf.org] 

Designer:  R.  Benjamin  Brown 

[benbrowngraphic@msn.com] 

Production  Associate:  Timothy  Schmidt 

[graphics@aivf  org] 

Editorial  Associate:  Lindsay  Gelfand 

[notices@aivf.org] 

Contributing  Editors: 

Sherman  Alexie,  David  Aim,  Pat  Aufderheide, 

Monique  Cormier,  Bo  Mehrad,  Cara  Merles,  Kate  Turtle 

Contributing  Writers: 

Elizabeth  Angel  I,  Margaret  Coble,  Lisa  Selin  Davis, 

Matt  Dunne,  Gadi  Harel,  Rick  Harrison 

Advertising  Representative:  Veronica  Shea 

(212)  807-1400  x232.  [veronica@aivf  org] 

Advertising  Representative:  Michael  Tierno 

(212)  807-1400  x234:  [mike@aivf.org] 

Classified  Advertising:  Michael  Tierno 

(212)  807-1400  x241;  [classifieds@aivf.org] 

• 

National  Distribution: 

Ingram  Periodicals  (800)  627-6247 


POSTMASTER:  Send  address  changes  to: 

The  Independent 
304  Hudson  St.,  6  ft.,  New  York,  NY  10013 

77ie  Independent  (ISSN  1077-8918)  is  published  monthly  (except 
combined  issues  January/February  and  July/August)  by  the 
Foundation  for  Independent  Video  and  Film  (FIVF),  a  501(c)(3) 
dedicated  to  the  advancement  of  media  arts  and  artists. 
Subscription  to  the  magazine  is  included  in  annual  membership 
dues  (S70/yr  individual:  $40/yr  student:  $200/yr  nonprofit/school: 
S200-700/yr  business/industry)  paid  to  the  Association  of 
Independent  Video  and  Filmmakers  lAIVFl,  the  national  profes- 
sional association  of  individuals  involved  in  moving  image  media. 
Library  subscriptions  are  $75/yr.  Contact:  AIVF.  304  Hudson  St, 
6  ft,  New  York,  NY  10013,  (2121  807-1400:  fax:  (212)  463-8519: 
info@aivf.org. 

Periodical  Postape  paid  at  New  York,  New  York 
and  at  additional  mailing  offices. 

Printed  in  the  USA  by  Cadmus  Specialty  Publications 


Publication  of  The  Independent  is  made  possible 

^£     in  part  with  public  funds  from  the  New  York  State  Council 

::;,::,•.:  °n  the  Arts,  a  state  agency,  and  the  National  Endowment 
::.-:.-.-.'...    for  (he  ^n%  a  fe(jera|  agenCy 

Publication  of  any  ad  in  The  Independent  does  not  constitute  an 
endorsement  AIVF/FIVF  are  not  responsible  for  any  claims  made  in 
an  ad.  All  contents  are  copyright  of  the  Foundation  for  Independent 
Video  and  Film,  Inc.  Reprints  require  written  permission  and  acknowl- 
edgement of  the  article's  previous  appearance  in  The  Independent 
The  Independent  is  indexed  in  the  Alternative  Press  Index  and  is  a 
member  of  the  Independent  Press  Association 

AIVF/FIVF  staff:  Bienvenida  Matias,  executive  director; 
Soma  Malta,  program  director,  Priscilla  Grim,  membership  director: 
Bo  Mehrad,  information  services  director,  Greg  Gilpatrick, 
technology  consultant,  Gerry  Edouard,  Karen  Odom,  Joseph  Trawick- 
Smith,  Miriam  Wallen,  interns;  AIVF/FIVF  legal  counsel:  Robert  I. 
Freedman,  Esq.,  Cowan,  DeBaets,  Abrahams  &  Sheppard. 

AIVF  Board  of  Directors  Joel  Bachar,  Paula  Manley  (Secretary), 
Bienvenida  Matias  (ex  oficiol.  Michele  Meek,  Simon  Tarr 
(Chair/Treasurer),  Elizabeth  Thompson  (President),  Bart  Weiss. 

©  Foundation  for  Independent  Video  &  Film,  Inc.  2005 
Visit  The  Independent  online  at:  www.aivf.org 


^dent  I  June  2005 


EDITOR'S  LETTER 

Dear  Readers, 

I  got  married  in  April.  Leading  up  to 
the  wedding  on  April  23,  after  a  consid- 
erable amount  of  feigned  indifference  in 
getting  our  announcement  into  The  New 
York  Times  Style  section  (solely  on  my 
part — everyone  else,  my  husband  and 
parents  included,  was  genuinely  disinter- 
ested), I  decided  to  submit  our  informa- 
tion for  consideration.  To  be  perfectly 
honest,  I  couldn't  imagine  they  wouldn't 
call  us  immediately  upon  receipt  of  it — 
it's  a  great  story  that  includes,  among 
other  distinctively  New  York-ish  details, 
my  fiance  and  I  meeting  on  a  subway 
platform. 

The  call  from  the  "Vows"  editor 
involved  some  questions.  Like:  Was  my 
uncle  who  officiated  the  ceremony  an 
ordained  minister  or  had  he  received  spe- 
cial privileges  to  conduct  the  ceremony? 
Well,  actually,  I  told  him,  my  fiance  and 
I  got  legally  married  at  City  Hall  a  few 
weeks  before  and  this  is  just  the  wedding 
part — no  one  else  knows,  though,  so  it's 
like  the  real  thing.  "Oh,  no,"  the  editor 
said,  with  what  I  could 've  sworn  was  con- 
tempt. "Yeah,  no,  we  don't  do  that."  He 
proceeded  to  tell  me  in  curt  and  explicit 
terms  that  under  no  circumstances  did 
The  New  York  Times  publish  wedding 
announcements  on  or  about  any  other 
day  but  the  official  wedding  date.  "But 
it's  a  great  story."  I  thought — somewhat 
feverishly. 

This  is  probably  how  many  of  you  feel 
when  you  don't  get  into  Sundance,  or 
another  of  the  higher  profile  festivals — 
you  don't  want  to  want  it  as  much  as  you 
do,  but  you  do  (in  fact,  quite  often  there's 
a  clear-minded  assumption  on  your  part 


that  you  will  get  in).  And  then  if  you 
don't  get  in,  you  immediately  get  right- 
eous as  hell  about  your  film  being  the 
best  film  on  the  planet  and  absolutely 
custom  made  for  that  particular  festival.  I 
think  this  feeling,  this  knee  jerk  reaction, 
is  especially  true  for  artists  or  those  who 
perhaps  fancy  themselves  somewhat 
above,  beyond,  or  over  mainstream  con- 
ventions. Luckily,  in  the  end,  there  are 
many  outlets  and  people  out  there  that 
will  still  have  you — that  will  allow  you 
your  personal  outbursts  and  self-impor- 
tant theories  on  what  makes  a  great  story, 
great  film,  and  great  art. 

Places  like  the  hi/lo  film  festival  in  San 
Francisco,  for  which  the  programmers 
"strive  to  put  films  before  audiences  that 
illustrate  how  liberating  a  small  budget 
can  be"  (page  22);  Peripheral  Produce 
and  its  annual  Portland  Documentary 
and  Experimental  Film  Festival  (page 
44);  and  of  course,  the  many  and  varied 
service  organizations  spread  across  the 
country  with  the  singular  intent  to  help 
you  do  what  you  need  and  want  to  do  in 
the  best  and  most  creative  way  possible — 
AIVF  among  them,  and  by  extension, 
this  magazine  (page  36).  There  are  people 
like  Bradley  Beasley,  whose  documentary 
as  love  letter  to  the  magnificent  alt-rock 
band  The  Flaming  Lips,  The  Fearless 
Freaks,  is  gorgeously  inspired  (page  40). 
And  believe  it  or  not,  the  eBay  guy  Jeff 
Skoll,  who  while  new  to  the  film  industry 
is  not  so  bid-driven  that  he  can't  appreci- 
ate that  "the  world  of  independent  film  is 
a  little  bit  freer  of  that  kind  of  commer- 
cial, mass-market  influence  that  guides  so 
many  studios"  (page  48). 

Also  in  this  issue,  On  the  Scene  with 
Elvis  Mitchell  (page  32),  who  I'm  always 
happy  to  see  at  various  festivals  and 
industry  events,  and  who  is  busy  these 
days  with  a  new  development  gig  at 
Columbia  Pictures  and  guest  curating  the 
LA  Film  Festival  this  month. 

Enjoy,  and  thanks  for  reading 
The  Independent, 
Rebecca  Carroll 


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June  2005  I  The  Independent  5 


Jessica  Edwards 


DAVID  ALM  teaches  film 
history  and  writing  at  two  colleges  in 
Chicago.  His  writing  has  appeared  in 
Arbyte,  Camerawork,  RES,  Silicon  Alley 
Reporter,  SOMA,  and  the  The  Utne  Reader. 
He's  also  contributed  to  books  on  web 
design  and  digital  filmmaking  and  assisted 
in  making  documentaries  about  architec- 
ture and  garbage. 

ELIZABETH  ANGELL  is  a  freelance 
writer  living  in  New  York.  She  recently 
received  an  MFA  in  creative  writing  from 
Columbia  and  is  at  work  on  her  first 
book. 

LISA  SELIN  DAVIS  is  the  author  of 
the  novel,  Belly,  which  is  forthcoming 
from  Little,  Brown  &  Co.,  and  a  free- 
lance writer  in  New  York. 


PJ  GACH  is  a  New  York  City-based 
freelance  writer.  Her  media  clients  include 
The  New  York  Post,  Ingenue  Magazine, 
RollingStone.com,  and  UGO.com. 

JESSICA  EDWARDS  is  a  press  agent 
for  film  and  television  projects  at  Murphy 
Public  Relations  in  New  York.  She  has 
been  a  production  manager,  assistant 
director,  and  editor,  and  co-produces  the 
Canadian  leg  of  Resfest  in  her  native 
Toronto.  She  graduated  with  a  BFA  in 
filmmaking  from  Concordia  University  in 
Montreal,  and  currently  lives  in  Brooklyn 
where  she  aims  to  dissolve  the  publicist 
stereotype,  one  journalist  at  a  time. 

RICK  HARRISON  is  an  assistant 
editor  at  The  Independent.  He  has  a  mas- 
ter's degree  in  journalism  from  New  York 
University  and  his  work  has  appeared  in 
Newsday,  The  Forward,  The  Daily  News, 
Our  Town  and  The  West  Side  Spirit.  His 
more  mindless  musings  can  be  read  at: 
www.rollingbones.blogspot.com. 


Nick  Schrager 


Hependent  I  June  2005 


JB  UTORS 


Brian  Libby 

BRIAN  LIBBY  is  a  Portland-based 
freelance  journalist,  film  critic,  and  pho- 
tographer whose  writing  has  appeared  in 
The  New  York  Times,  Premiere,  Salon, 
Christian  Science  Monitor,  Willamette 
Week  and  other  publications.  His  work 
can  be  found  at  www.brianlibby.com. 


FIONA  NG  lives  in  Brooklyn.  She's 
written  for  The  Los  Angeles  Times,  Black 
Book,  Bust,  RES,  and  other  publications. 


Amy  Thomas 


FERNANDA  ROSSI,  known  as  the 
Documentary  Doctor,  is  a  filmmaker  and 
story  consultant  who  helps  filmmakers 
craft  the  story  structure  of  their  films  in  all 
stages  of  the  filmmaking  process.  She  has 
doctored  over  100  documentaries  and 
fiction  scripts  and  is  the  author  of  Trailer 
Mechanics:  A  Guide  to  Making  your 
Documentary  Fundraising  Trailer.  For 
more  information:  www.documentary 
doctor.com. 


NICK  SCFIAGER  is  a  freelance  jour- 
nalist and  film  critic  whose  writing  has 
appeared  in  The  Village  Voice,  Complex 
magazine,  Slant  magazine,  and  other 
print  and  online  publications.  He 
recently  received  a  master's  degree  in 
journalism  from  Columbia  University, 
and  his  work  can  be  found  at 
www.nickschager.com. 


AMY  THOMAS  is  now  happy  to  call 
herself  a  contributor  to  The  Independent. 
Her  writing  has  also  appeared  in  CITY, 
Weddinghells,  Time  Out  New  York,  Lucky 
and  several  other  publications,  as  well 
as  on  her  website,  www.modgirl.com. 


MARC  VOGL  is  director  of  the  hi/lo 
Film  Festival  and  executive  director  of 
The  Lobster  Theater  Project,  a  nonprofit 
arts  organization  creating  new  work  for 
the  stage  and  screen  in  San  Francisco.  He 
also  makes  short  films  and  puts  on  live 
shows  with  the  comedy  group  Killing  My 
Lobster.  Have  a  look  to  see  how  busy  he 
is:  www.hilofilmfestival.com,  and 
www.killingmylobster.com. 


Marc  Vogl 


June  2005  I  The  Independent    7 


members 

in  the  news 


John  Long 

Torrington,  CT 

Member  since:  January  2005 

John  Long's  video  documentary  Pursuit  of  Precision  had  its 
broadcast  premiere  on  Connecticut  public  television  in 
January  2005.  The  film  will  stay  in  the  station's  broadcast 
cycle  for  two  years. 

Annetta  Marion 

New  York,  NY 

Member  since:  1997 

Annetta  Marion  has  been  accepted  into  the  American  Film 
Institute's  Directing  Workshop  for  Women  in  Los  Angeles, 
where  she  will  work  on  her  short  film,  Alaska. 


Vivian  Kleiman 

Berkeley,  CA 

Member  since:  1995 

Vivian  Kleiman  served  as  senior  producer  and  series  direc- 
tor on  "The  Meaning  of  Food,"  a  3-part  documentary  series 
produced  in  association  with  Oregon  Public  Broadcasting 
and  aired  nationally  on  PBS  in  April  2005.  A  companion 
book  to  the  series  was  published  by  Globe  Pequot. 


Jem  Cohen 

Brooklyn,  NY 

Member  since:  1988 

Jem  Cohen  received  the  2005  Independent  Spirit  Award  as 
"Turning  Leaf's  Someone  to  Watch"  for  his  film  Chain, 
which  opened  the  Images  Festival  in  Toronto  this  past  April. 


Carol  Strickland 

New  York,  NY 

Member  since:  2001 

Carol  Strickland's  romantic-comedy  screenplay  Double  or 
Nothing  won  first  prize  in  the  Hollywood  Scriptwriting 
Institute's  March  contest. 


Dakkan  Abbe 

Brooklyn,  NY 

Member  since:  2003 

Dakkan  Abbe  served  as  producer,  director,  DP,  writer,  and 
editor  for  a  six-part  documentary  travel  series  called  "Inside 
the  Tuscan  Hills,"  which  was  distributed  by  PBS  and  has 
been  broadcast  on  their  local  stations  nationwide  since 
winter  2005. 


Danielle  Beverly 

New  York,  NY 

Member  since:  2003 

Danielle  Beverly's  first  feature  documentary  Learning  to 
Swallow,  edited  by  former  board  member  Kyle  Henry,  will 
have  its  world  premiere  in  competition  at  the  Silverdocs 
AFI/Discovery  Channel  Documentary  Film  Festival  this 
month.  Beverly  was  also  selected  as  an  IFP/NY  Project 
Involve  Honoree  this  spring,  and  was  the  recipient  of  an 
SCETV  Professional  Development  Fellowship  for  travel  to 
INPUT,  the  international  public  television  conference  held 
in  San  Francisco. 


Crista  Giuliani 

Brooklyn,  NY 

Member  since:  1998 

Crista  Giuliani  secured  Omni  Film  Distribution  as  a  sales 
agent  for  her  short  film  Valentine's  Day.  Omni  will  be  repre- 
senting the  film  internationally,  most  recently  at  the  2005 
Cannes  Film  Festival. 


Ralph  Arlyck 

Poughkeepsie,  New  York 
Member  since:  The  Beginning  (circa  1970) 
Following  Sean,  a  documentary  feature  by  Ralph  Arlyck, 
will  be  screened  at  the  Munich  and  Karlovy  Vary  Film 
Festivals  late  this  month  and  early  July.  The  film  received  a 
Special  Jury  Prize  at  the  Hamptons  International  Film 
Festival  last  fall  and  has  been  an  official  selection  at 
Rotterdam,  Full  Frame,  and  the  Cinema  du  Reel  in  Paris. 


8  The  Independent  I  June  2005 


www.aivf.org 


BUSINESS  REPLY  MAIL 


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NEWS 


Staying  Current 

A  future  generation  of  television 


M 


By  Amy  Thomas 

ost  people  still  get  a  chuckle 
out  of  Al  Gore's  1999  claim  to 
having  "invented"  the  internet. 
Although  his  words  were  taken  out  of 
context — indeed,  he  was  misquoted — 
the  reference  has  haunted  him  ever  since. 
But  perhaps  his  next  dalliance  into  revo- 
lutionary technology  will  leave  the  heck- 
lers eating  crow.  This  August  he  and 
entrepreneur  Joel  Hyatt  are  launching 
Current,  the  first  national  cable  network 
devoted  to  and  created  by  an  18  to  34- 
year-old  audience. 


"Young  adults  have  a  powerful  voice, 
but  you  can't  hear  that  voice  on  televi- 
sion...yet,"  said  Gore,  who  will  serve  as 
the  nascent  network's  chairman.  "We 
intend  to  change  that  with  Current,  giv- 
ing those  who  crave  the  empowerment  of 
the  web  the  same  opportunity  for  expres- 
sion on  television." 

Although  Gore  brings  a  big  name  and, 
therefore,  more  recognition  and  credibil- 
ity to  the  endeavor,  it's  the  network  itself 
that's  most  intriguing.  Current  will  offer 
around-the-clock     programming     that 


caters  to  younger  generations  appetite 
for  bite-sized  content.  Like  a  cross 
between  a  TV  blog  and  an  iPod  on  shuf- 
fle, it  will  have  short-format  program- 
ming that  covers  everything  from  tech- 
nology and  the  environment  to  fashion 
and  music  in  15-second  to  five-minute 
"pod"  segments.  Slated  pods  include, 
among  others,  Current  Gigs  which  will 
offer  career  guidance  and  insight; 
Current  Parent  aimed  at  first-time  moms 
and  dads;  and  Current  Soul  which  tracks 
trends  in  spirituality. 

June  2005  I  The  Independent    9 


MOTION 
PICTURES  & 
TELEVISION 

Register  Now  for  Summer 
&  Fall  Semesters 

Courses  offered  in 

Acting 

Cinematography 

Directing 

Documentary 

Music  Videos 

Screenwriting 

Shakespeare 

Sound 

Voice  Sl  Movement 

AA  |  BFA  |  MFA  Degrees 

Personal  Enrichment 

Online  Courses 


ACADEMYo/ART 
UNIVERSITY 


FOUNDED  IN  SAN  FRANCISCO  1929 


I.800.544.ARTS 
WWW.ACADEMYART.EDU 

79  NEW  MONTGOMERY  STREET 

SAN  FRANCISCO,  CA  94105 

NATIONALLY  ACCREDITED  BY 

ACICS,  NASAD  &  FIDER  (bfa-iad) 


More  than  the  clever  easy-to-digest 
programming,  Current  will  be  revolu- 
tionary in  that  it's  interactive,  with  the 
audience  contributing  to  and  shaping  the 
content.  "Until  now,  the  notion  of  view- 
er participation  has  been  limited  to  send- 
ing a  tape  to  America's  Funniest  Home 
Videos,'  calling  an  interview  show,  taking 
part  in  an  instant  poll,  or  voting  someone 
off  an  island,"  Gore  said.  "We're  creating 
a  powerful  new  brand  of  television  that 
doesn't  treat  audiences  as  merely  viewers, 
but  as  collaborators." 

Viewers  will  be  able  to  upload  their 
own  segments  through  the  Current 
Studio  on  the  network's  website, 
www.current.tv.  They  are  specifically 
hoping  to  draw  submissions  for  pods 
such  as  the  creative  Current  Video  which 
is  meant  to  discover  the  next  Spike  Jonze 
and  the  more  indulgent,  free-form 
Current  Rant,  which  invites  viewers  to  go 
off  on  a  particular  topic.  To  facilitate 
viewer  participation,  Current  will  offer  a 
comprehensive  online  training  program 
that's  developed  by  bright,  young 
creatives  who  are  experts  in  storytelling, 
shooting,  and  editing.  With  their  online 
training  program,  the  network  hopes  to 
cultivate  a  coterie  of  acclaimed  Current 
Journalists  (CJs)  and,  conceivably,  a 
whole  new  generation  of  TV  personali- 
ties. 

To  jumpstart  content  and  encourage 
contributors,  the  network  held  a  contest 
from  April  1 1  to  May  12,  soliciting  video 
submissions  in  three  categories:  Current 
Gigs,  Current  Fashion,  and  Current  Soul. 
After  the  network  chose  five  semi-final- 
ists, registered  users  of  the  web  site  were 
able  to  vote  on  the  winner,  who  received 
a  development  deal  to  produce  three 
short  segments  after  Current  launches. 

Beyond  its  progressive  programming 
and  training,  Current  is  demonstrating 
how  internet-sawy  it  is  with  smart  asso- 
ciations. The  network  is  partnering  with 
uber  search  site  Google  to  get  its  twice- 
an-hour  news  updates.  Titled  Google 
Current,  these  pods  will  feature  the  latest 
Google  search  data  as  news  updates.  In 
other  words,  instead  of  big  corporations 
deciding  what's  news  and  feeding  it  to  the 
audience,  they're  opting  for  a  more 
democratic  approach  informed  by  what 
the  world  at  large  has  on  their  minds. 


Google  is  quite  excited  by  Current's 
vision.  Larry  Page,  Google's  co-founder 
and  president  of  products  said,  "Current 
is  an  exciting  new  direction  for  TV 
programming  that  enables  any  viewer  to 
have  the  opportunity  to  broadcast  their 
video  to  the  world." 

Current  laid  its  foundation  last  May 
when  Gore,  Hyatt,  and  company 
founders  acquired  Newsworld  Intern- 
ational, a  24-hour  global  news  channel 
produced  by  The  Canadian  Broadcasting 
Corporation,  for  $70  million.  With  that 
purchase,  Current  got  NWTs  reach  into 
nearly  20  million  households,  and  with 
private  financing  it  will  continue  build- 
ing on  that  base. 

Naturally,  the  Current  team  will  be 
young  and  multicultural,  delivering  their 
hip  take  on  the  news,  current  events,  and 
pop  culture  in  a  club-like  atmosphere. 
While  Current  could  lace  a  challenge 
drawing  its  audience  from  other  tried- 
and-true  networks  like  Viacom-owned 
MTV  and  VH-1,  their  short-form 
programming  and  viewer  contributions 
could  also  be  a  big  hit.  Since  shows  such 
as  Comedy  Central's  "The  Daily  Show" 
are  favorites  among  this  age  group, 
Current's  personality  and  structure 
should  strike  a  chord  with  the  audience. 
And,  following  reality  TV,  Hollywood 
movies,  and  prime  time  sitcoms,  Current 
plans  to  work  with  advertisers  to  create 
alternative  branding  and  advertising 
methods  in  lieu  of  30-second  television 
commercials  which,  for  better  or  worse, 
are  what  this  TiVo  generation  is  used  to. 


Lake  Placid  on  Hold 

The  federal  government  isn't  the  only 
sector  that's  running  into  budgeting 
boondoggles  as  of  late.  The  Adirondack 
Film  Society  announced  that  the  Lake 
Placid  Film  Festival  will  take  a  one 
year  hiatus  in  order  to  run  a  more  finan- 
cially sound  enterprise.  "There's  only  two 
ways  to  do  things:  the  right  way  and  the 
wrong  way,  and  we  wanted  to  do  it 
the  right  way,"  said  board  chairman 
Nelson  Page  of  their  decision  to  scuttle 
the  annual  event. 

In  the  five  years  since  it  launched, 
the  Lake  Placid  Film  Festival — originally 
known  as  the  Lake  Placid  Film  Forum — 


10    The  Independent  I  June  2005 


Patricia  Clarkson  with  directors  Alan  Rudolph 
and  Larry  Clark  at  the  2003  Lake  Placid  Film 
Festival  (Ben  Stechshulte) 


has  earned  a  reputation  among  filmmak- 
ers and  film  lovers  as  a  uniquely  intimate 
event.  Each  June,  it  has  brought  profes- 
sionals and  fans  alike  to  the  picturesque 
New  York  town  in  the  Adirondack 
Mountains.  In  addition  to  screening 
dozens  of  films,  shorts,  and  documen- 
taries, it  has  held  forums,  panels,  classes 
and  readings  of  screenplays.  Respected 
industry  members  like  actor  Campbell 
Scott,  documentary  filmmaker  Albert 
Maysles,  and  director  Mira  Nair  have 
taught  some  of  the  classes  in  the  past. 
Other  festival  guests  have  included  Milos 
Forman,  Debra  Winger,  Patricia  Clark- 
son,  Larry  Clark,  Jennifer  Jason-Leigh, 
William  Kennedy,  and  Elmore  Leonard. 
And  the  LPFF  has  honored  distinguished 
filmmakers  with  lifetime  achievement 
awards,  including  Martin  Scorsese  last 
year.  But  it  all  comes  with  a  price,  and 
there  just  wasn't  enough  money  in  the 
coffers  to  pay  this  year. 

"We  were  operating  behind  the  budg- 
eting 8-ball,"  Page  said,  citing  the  festi- 
val's date  as  one  obstacle.  The  organizers 
were  finding  that  once  the  five-day 
festival  wrapped  in  June,  it  was  difficult 
to  turn  around  in  the  slow  summer 
months  and  start  securing  financing  for 
the  following  year.  Then  there's  the  issue 
of  a  growing  number  of  film  festivals 
cropping  up  in  New  York  and  all  over  the 
country.  While  they  provide  great  oppor- 
tunities for  filmmakers  and  exciting 
events  for  the  viewers,  they  also  eat  away 
at  established  festivals'  sources  of  interest 


and  income.  "There's  only  so  many  spon- 
sors and  state  money,"  Page  said.  While 
the  LPFF  could  conceivably  be  more 
aggressive  about  securing  sponsorships — 
Kodak,  Amtrak,  and  GM  have  been 
sponsors  in  the  past — they  will  more  like- 
ly change  the  event's  date  in  2006. 

But  certain  other  things  will  remain 
the  same.  The  organizers  are  adamant 
about  keeping  the  quality  and  reputation 
of  the  event  and  have  no  plans  to  change 
the  programming,  reduce  the  number  of 
days  and  movies,  or  to  cut  staff.  "Better 
to  take  a  year  off  and  go  forward  with 
more  security,"  is  how  Page  describes 
their  plan  to  be  smart  and  proactive 
instead  of  being  blindly  optimistic  and 
losing  money. 

In  the  meantime,  The  Adirondack 
Film  Society  will  host  a  number  of  special 
screenings  and  programs  in  Lake  Placid 
throughout  the  year.  Artistic  Director 
Kathleen  Carroll,  who  founded  the 
festival  with  Naj  Wikoff  and  novelist 
Russell  Banks  said,  "We  are  extremely 
grateful  to  all  of  you  and  we  hope  for 
your  continued  support  of  our  plans  to 
present  a  reinvigorated  film  festival  in  the 
near  future." 


Going  Once,  Going  Twice.. .Not 
Going  at  All 

Digital  moviemaking  could  very  well 
be  the  next  frontier  for  Hollywood,  but 
it's  not  necessarily  worth  $1.5  million.  At 
least  that's  one  conclusion  documentary 


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June  2005  I  The  Independent   11 


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filmmaker  Mark  Estabrook  might  draw. 
On  April  6,  he  offered  the  domain  name 
digitalmovie.com  on  eBay  with  a  starting 
bid  price  of  SI. 5  million  and  a  "Buy 
Now"  option  of  $3  million.  By  the  time 
the  auction  closed  on  April  15,  there  had 
been  no  bidders. 

"We  are  definitely  in  the  digital  movie 
age,  and  I  felt  like  the  name  had  reached 
a  point  where  the  entertainment  industry 
would  know  what  to  do  with  it," 
Estabrook  said  in  a  press  release.  In  1998 
Estabrook  acquired  the  name  by  trading 
it  for  a  digital  movie  camera.  He  believes 
that  in  the  seven  years  since  then, 
advancements  in  encryption  technology 
that  make  the  downloading  of  movies 
possible  at  much  faster  rates  also 
make  the  URL  a  must-have  for  "enter- 
tainment giants"  like  Sony,  Warner  and 
others.  Estabrook  also  cited  advances  in 
technology  and  storage  capacities  and  the 
increasing  usage  of  pay-on-demand  and 
DVD  kiosks  as  indications  of  a  growing 
demand  for  and  interest  in  digital 
moviemaking. 

His  eBay  pitch:  "Enough  said.  The 
name  speaks  for  itself.  The  starting  bid  is 
SI, 500,000.00...  less  than  a  small  house 
in  Southern  California!"  Up  for  stakes  in 
the  auction  was  the  registration  rights  of 
digitalmovie.com — and  as  a  "bonus" 
Estabrook  added  the  .net,  .org,  and  .us 
extensions  as  well.  Banking  on  a  strong 
movement  toward  the  digital  moviemak- 
ing arena  that  would  make  his  URL  irre- 
sistible to  head  Hollywood  honchos, 
Estabrook  emphasized   his   belief  in   its 


value.  Or,  as  he  simply  stated,  "The 
future  of  entertainment  is  digital." 

Estabrook  did  not  develop  digital- 
movie. com  into  a  downloading  site  him- 
self because  of  the  need  for  high  amounts 
of  broadband.  "I  really  hate  to  let  it  go,  as 
I  studied  filmmaking  in  college,  but  the 
money  I  estimate  this  name  is  worth 
would  make  an  awesome  digital  movie." 
Estabrook  believes  the  entertainment 
industry  is  the  only  group  capable  of 
developing  the  capital  and  infrastructure 
to  support  digitalmovie.com.  In  fact, 
after  the  eBay  auction  ended,  Estabrook 
posted  the  domain  name  on  sedo.com,  a 
site  that  specifically  sells  URLs,  with  the 
following  directions:  "Please  do  not  place 
an  offer  on  this  name  unless  you  have 
movie  industry  level  funding.  Seller  will 
not  respond  to  offers  less  than 
51,000,000  U.S." 

Estabrook,  who  is  currently  working 
on  a  documentary  about  the  late  astro- 
naut Gus  Grissom,  couldn't  be  reached 
for  comment  after  the  eBay  auction  clos- 
ing. But  one  could  assume  the  Tennessee- 
based  filmmaker  remains  hopeful. 
Estabrook's  eBay  description  said: 
"Should  this  auction  end  without  a 
buyer,  be  advised  any  future  offers  of  this 
domain  name  by  seller  will  include  a  roy- 
alty clause  per  transaction.  That's  right, 
the  price  is  going  up,  not  down.  This  is 
your  company's  last  chance  to  obtain 
DIGITALMOVIE.COM  at  reduced 
cost!  Think  of  it,  billions  of  downloads 
are  just  waiting..."  •& 


12    The  Independent  I  June  2005 


UTILIZE  IT 


Tools  You  Can  Use 


By  David  Aim 


Sundance's  new  online  resource  for  festival 
updates  and  news  (Sundance  Film  Institute) 

Sundance.com 

Expanding  its  reach  to  become  as 
much  a  virtual  destination  tor  indie  film- 
makers as  a  physical  one,  the  Sundance 
Film  Institute  launched  an  online 
resource  early  this  year,  providing  up-to- 
the-minute  information  on  the  festival's 
member  film  companies,  the  films  it  has 
screened,  and  general  news.  The  site  pro- 
vides details  on  companies  and  their  con- 
tacts, film  entries  with  brief  synopses  and 
stats  on  their  creative  teams,  and  a  news 
section  that  covers  everything  else. 
www.sundance.org/source. 

Could  PCs  Become  the 
New  Macs? 

It's  no  surprise  that  DV  professionals 
prefer  Macs  to  PCs — they're  more  visual- 
ly sophisticated  and  friendlier  to  pro- 
grams like  Photoshop  and  Final  Cut  Pro. 
But  one  pro- Windows  software  company 
wants  to  change  that.  This  spring  Kaolay, 
a  new  software  development  firm  in 
Alba,  Italy,  introduced  Ultradesk  v.  1 . 1 ,  a 
virtual  desktop  manager  that  allows 
Windows  users  to  maintain  multiple 
desktops  at  once.  Currently  available  in 
Beta  for  free,  single  licenses  of  the  soft- 
ware will  soon  hit  the  market  for  just 


(LitePanels,  Inc. 


$19.95.  And  whether  or  not  Ultradesk 
can  actually  lure  hardcore  Mac-boosters 
into  the  cult  of  Gates  remains  to  be  seen, 
but  the  software  does  provide  tempting 
bait,  www.kaolay.com. 

After  Dark 

Add  a  little  noir  to  your  next  cinema 
verite  project  with  the  new  infrared  LED 
lighting  system  from  LitePanels,  Inc,  a 
Hollywood-based  hardware  company. 
Measuring  just  6.75"x2.25"  x  1.25" 
and  weighing 
9.6  ounces, 
these  little 
panels  allow  for 
shooting  in  total 
darkness  and  in 
extreme  low-light 
situations.  They  can 
be  mounted  on  cam- 
eras, stands,  or  any  tight  spot  in  which 
you  might  wish  to  shoot.  Moreover,  they 
can  be  powered  by  a  variety  of  1 0— 30-volt 
sources,  including  an  AC  adapter,  camera 
battery,  or  battery  pack.  At  $700  per,  the 
new  panels  might  not  attract  the  next 
Jean  Rouch  just  yet,  but  it's  good  to  see 
that  the  late  French  anthropologist-cum- 
documentarian  and  pioneer  of  cinema 
verite's  legacy  lives  on. 
www.litepanels.com. 

Handheld  Grace 

_Not  everyone  who  shoots  with  a 
lightweight,  handheld  DV  camera 
wants  to  emulate  Lars  Von  Trier. 
Those  who  desire  smooth  takes 
might  consider  the  new  Chroszie 
Twister  DV,  from  Burbank-based 
filmmaking  outfitters  16x9  Inc. 
This      lightweight      stabilizing 
apparatus      consists      of     two 
handles    that    attach    to    your 
camera's  central  mounting  plate, 
allowing  the  camera  to  pivot  between 
the  two  handgrips  on  the  system's  rotary 


axle.  Operating  on  the  principle  that 
humans  naturally  move  in  a  steady,  level 
manner  when  carrying  objects,  the  cre- 
ators of  the  Chrosziel  Twister  DV 
designed  the  device  to  distribute  a 
camera's  weight  between  a  user's  two 
hands,  allowing  for  both  spontaneity  and 
grace  under  virtually  any  condition.  In 
this  case,  however,  grace  has  a  price:  Each 
device  costs  $1,695.  www.  l6x9inc.com-& 


June  2005  I  The  Independent     13 


FIRST  PERSON 


Behind  the  Spin 

What  do  film  publicists  actually  do? 
An  expert  exposes  the  truth 


By  Jessica  Edwards,  publicist  at  Murphy  PR 


There  is  a  mystique  to  filmmaking — the 
silvery  light  that  reflects  off  the  screen, 
the  way  the  story  shapes  a  characters 
whole  life  in  two  hours  and  how  that  life 
can  then  resonate  so  deeply  with  an  audi- 
ence. The  myth  of  filmmaking  is  what 
makes  it  such  a  powerful  medium.  But 
more  and  more,  art  and  independent  film 
have  dovetailed  with  the  contemporary 
commercial  demands  of  the  medium. 


Except  for  ad  buys,  it  is  woefully  diffi- 
cult to  guarantee  that  an  independent 
film  will  receive  any  attention  in  the 
press,  not  to  mention  from  the  general 
public,  because  independent  films  have 


few  of  the  resources — or  overtly  commer- 
cial instincts — that  studios  use  to  track 
and  shape  their  product.  The  result  on 
the  festival  circuit,  where  most  of  these 
films  are  seen  for  the  first  time,  is  often 
perceived  as  a  complex  web  of  press 
agents  serving  as  promotion  consultants 
to  neophyte  filmmakers  and  producers, 
which  may  explain  why  the  world  of 
publicity  is  so  shrouded  in  stereotype.  Or 
maybe  it  is  due  to  a  serious  misunder- 
standing over  what  a  publicist,  like 
myself,  does  and  why. 

Even  with  all  its  recent  expansion,  the 
Austin-based  SXSW  Film  Festival  still 
represents  an  authentic  taste  of  the  inde- 
pendent film  world.  There  is  a  large  com- 


munity presence  and  a  real  support  from 
local  Austinites,  bolstered  by  a  small 
industry  attendance  that  doesn't  create  a 
suffocating  environment  to  new  film- 
makers trying  to  get  some  feedback  on 
their  projects.  There  is  great  opportunity 
at  this  festival  to  access  all  types  of  infor- 
mation to  further  their  understanding  of 
the  art  and  market  of  the  medium.  I  had 
hoped  when  I  attended  SXSW  earlier  this 
year  that  one  of  its  panel  offerings,  "Meet 
the  Film  Press,"  would  provide  filmmak- 
ers with  some  real  information  about 
how  to  get  your  film  noticed  by  journal- 
ists. And  for  my  part,  it  only  makes  sense 
for  a  publicist  to  attend  a  panel  of  film 
reporters  discussing  what  they  do  to  help 


14    The  Independent  I  June  2005 


better  understand  what  drives  the  people 
we  need  to  access. 

In  the  Austin  Convention  Center 
where  the  festival  was  headquartered,  the 
panels  were  held  in  divided  rooms  with 
your  typical  rows  of  chairs  and  a  long  dais 
at  the  front.  The  room  for  this  particular 
panel  was  significantly  full  and  when 
polled,  the  audience  was  about  three 
quarters  filmmakers.  The  six  media  pan- 
elists (which  included  Rebecca  Carroll, 
the  editor  of  this  magazine)  represented  a 
fair  cross  section  of  mainstream,  inde- 
pendent, and  industry  media,  and  the 
conversation  very  quickly  turned  its  focus 
to  press  materials  and  the  demerits  of 
glossy  packages  versus  phone  calls  and 
email  pitches.  It  became  apparent  to  me 
that  the  panel  wasn't  going  to  be  an 
opportunity  for  filmmakers  to  hear  about 
how  important  it  is  to  know  the  outlet 
they  are  approaching,  what  the  difference 
is  between  a  review  and  a  feature,  and 
what  realistically  they  can  expect  in  terms 
of  any  kind  of  coverage  at  all. 

What  could  have  been  an  informative 
dialogue  about  how  to  navigate  the  broad 
and  mysterious  world  of  film  marketing 
and  promotion  turned  into  somewhat  of 


a  bash  session — only  one  journalist  on 
the  entire  panel  suggested  that  a  publicist 
might  actually  be  helpful  for  a  filmmaker 
looking  to  get  their  film  noticed. 
Panelists  seemed  to  largely  agree  that  it  is 
unnecessary  to  have  a  publicist  at  all  if 
you  are  a  first-time  filmmaker,  because 
you  can  do  all  the  outreach  yourself. 
Which  to  be  fair  is  not  impossible,  but 
does  require  a  certain  amount  of  research 
in  order  to  learn  who  and  how  to  pitch, 
what  elements  of  film  an  outlet  covers, 
and  the  skills  and  virtues  of  persistent  fol- 
low-up. Had  this  been  suggested  during 
the  panel,  I  would  have  felt  better  about 
the  whole  thing,  but  sadly,  what  came 
across  more  than  anything  else  was  that 
journalists  don't  like  to  be  called  by  pub- 
licists at  7:30  a.m.  How  does  this  help  a 
filmmaker  better  understand  the  film 
media  world?  A  7:30  a.m.  call  may  be 
annoying  and  unprofessional,  but  that 
really  boils  down  to  a  topic  more  suited 
for  discussion  around  a  water  cooler. 
Why  not  discuss  what  to  look  for  in  a 
press  agent — why  some  are  bad  and  oth- 
ers have  succeeded?  In  retrospect,  it  may 
have  been  beneficial  to  raise  my  hand  and 
pose  this  question  to  the  panel,  but  it 


Edwards  was  working  on  Stagedoor  when  it  had  its  world  premiere  at  SXSW 
(courtesy  of  Jessica  Edwards) 


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June  2005  I  The  Independent  15 


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wasn't  the  time  or  place  to  air  grievances 
or  attempt  to  re-educate.  Although,  I 
have  often  thought  that  the  myth  of 
publicity  would  make  a  good  panel  all  on 
its  own. 

Film  pros  on  panels  like  this  one  rarely 
realize  that  their  audience  is  mostly  made 
up  of  rookies — people  seeking  the  most 
basic  information,  not  film  game  insider 
gripes.  For  better  or  worse,  at  some  point 
these  filmmakers  will  need  a  professional 
to  guide  them  through  the  treacherous 
waters  of  the  festival  world,  and  they 
could  have  come  away  from  this  SXSW 
panel  armed  with  some  knowledge  in 
determining  who  that  professional — 
agency  or  rep — might  be.  Instead,  I  fear 
that  most  came  away  with  the  notion 
that  press  agents  are  unnecessary,  which 
only  furthers  the  stereotype  and  contin- 
ues the  trend  that  there  is  no  separation 
within  agent  vocation.  In  other  words,  all 
press  agents  are  just  annoying,  overzeal- 
ous  spin-doctors — not  an  integral  part  of 
the  indie  film  landscape. 

Ultimately,  1  left  the  panel  feeling  that 
there  needs  to  be  a  reevaluation  of  the 
role  of  publicist,  because  right  now  it  is 
still  a  misconstrued  function  in  the  film 
business  clouded  with  Lizzie  Grubman- 
esque  stereotypes  that  are  perpetuated  by 
highly  coiffed  door  girls  in  Manolo 
Blahnik's.  For  someone  like  myself,  with 
a  real  passion  for  the  medium,  fighting 
this  stereotype  is  often  an  uphill  battle. 
Maybe  if  there  were  to  be  an  explanation 
of  what  it  means  to  be  a  press  agent  and 
how  that  role  is  integrated  into  the  larger 
machine  of  film  marketing  the  stereotype 
could  be  altered. 

First,  distinguishing  the  difference 
between  independent  project-based  pub- 
licity and  the  personal  publicist  is  crucial. 
When  big  movie  stars  get  hounded  about 
their  personal  lives,  one  can  argue  the 
necessity  and  virtues  of  hiring  a  represen- 
tative to  fend  off  the  press.  But  in  the 
world  of  independent  film,  this  isn't  real- 
ly the  case.  So  few  independent  films  get 
any    consideration    at    all — niche    nor 


mainstream — never  mind  the  actors  in 
the  film,  that  by  default  an  independent 
publicist  becomes  the  film's  advocate  and 
a  conduit  to  the  media.  Essentially,  it's 
the  role  of  an  informer:  "Here  is  this  film. 
You  may  like  it  because  of  these  reasons. 
Maybe  your  readers/viewers/listeners 
would  be  interested  in  it  because  of  these 
other  reasons.  Would  you  consider 
checking  it  out?"  And  then  it's  up  to 
the  journalist  to  make  a  connection  to 
the  film. 

An  independent  publicist  can  be 
especially  helpful  at  a  film  festival,  where 
there  are  upwards  of  200  films  for  the 
attending  media  to  consider.  And  a  good 
publicist  is  someone  who  connects  with 
a  project,  seeks  out  the  film's  strong 
identifiers,  and  hones  that  message  so 
that  the  film's  back-story  is  an  understat- 
ed part  of  the  film  viewing  experience. 
And  yes,  the  day-to-day  calling  and 
emailing  and  pitching  and  inviting  and 
confirming  may  be  annoying  to  a  jour- 
nalist who  is  hearing  from  several  differ- 
ent people  about  several  different  films 
on  any  given  day,  but  there  is  also  a 
remedy  to  this.  If  a  journalist  is  not  inter- 
ested in  the  project  being  pitched,  they 
can  always  say  no.  Any  publicist  with  an 
ounce  of  self-respect  will  back  off  and  try 
a  different  section  of  the  publication  or  a 
different  writer  who  may  better  connect 
with  the  project.  There  is  a  certain  art  to 
pitching,  and  knowing  the  outlet  and 
subtle  tastes  of  individual  writers  and 
critics  is  a  good  portion  of  the  job.  This 
requires  research  and  dedication. 

The  current  festival  landscape  is  a  hard 
one  to  navigate  and  can  very  easily  be 
overwhelming  for  a  first-time  filmmaker. 
A  publicist  can  help  by  steering  the  film 
towards  the  media  and  acting  as  its  escort 
and  champion.  Amid  all  the  conflicting 
ideas  and  perceptions  about  publicists,  it 
is  still  important  to  remember  that  they 
are  your  first  line  of  offense  to  the  media 
and  are  a  crucial  resource  in  gaining  the 
largest  possible  audience  for  your  film.  ~k 


16    The  Independent  I  June  2005 


the  Documentary  Doctor 


By  Fernanda  Rossi 


Dear  Doc  Doctor: 

When  I  was  still  starting  out  as  a  film- 
maker, I  made  lots  of  mistakes  but  my 
work  was  innovative.  Now  that  I  have 
more  experience,  I  find  myself  self-cen- 
soring my  work  to  the  point  where  I'm 
paralyzed.  How  do  I  go  back  to  being  an 
innovative  beginner? 

Self-censorship  grows  slowly  over  time, 
and  while  beginners  struggle  to  learn  how 
to  navigate  the  film  business,  more 
experienced  filmmakers  who  are  all  too 
aware  of  what  works  aren't  inclined  to  take 
as  many  risks.  The  irony  of  this  situation  is 
that  most  if  not  all  documentaries  have  un- 
rated theatrical  releases,  yet  filmmakers 
develop  their  own  internal  committee  of 
censors  anyway. 

And  how  much  are  networks  and  cable 
to  blame  for  a  filmmaker's  acquired  self- 
restriction?  Vanessa  Arteaga,  senior  pro- 
gramming and  production  executive  of 
Wellspring  Media,  a  leading  New  York- 
based  independent  distribution  company, 
says:  "Networks  and  cable,  both  domestic 
and  international,  have  varying  degrees  of 
regulations  regarding  language,  nudity, 
violence,  subject  matter,  etc. — enough  to 
make  any  filmmaker's  head  spin.  That  said, 
filmmakers  would  severely  compromise 
their  films  if  they  design  them  to  fit  a  cook- 
ie-cutter, made-for-TV  construct  simply 
out  of  the  idea  that  it  may  be  the  only  way 
for  their  films  to  be  seen  by  the  world. 
Filmmakers  should  strive  to  create  a  film 
that  is  of  theatrical  caliber.  The  broadcast- 


ers will  deal  with  the  modifications  that 
need  to  be  made  to  the  film  to  fit  their 
standards  if  there  is  a  strong  desire  for  the 
title." 

But  if  you  feel  strongly  that  only  one 
venue  is  possible  for  your  film,  by  all 
means,  make  sure  your  documentary  is  not 
in  direct  opposition  to  that  venue's  regula- 
tions. Arteaga  adds:  "Assume  nothing. 
What  a  filmmaker  might  think  is  too  con- 
troversial or  won't  be  accepted  by  anybody, 
may  be  the  very  reason  why  there  would  be 
interest  in  pursuing  the  film  to  begin 
with." 

So  if  outside  limits  are  somewhat  nego- 
tiable, why  are  you  and  other  filmmakers 
still  wary  of  crossing  the  line?  Interestingly 
enough,  positive  experiences  play  a  role 
here.  As  you  accumulate  awards  and  stand- 
ing ovations,  you  develop  a  positive  associ- 
ation to  your  film,  the  response  it  received, 


and  how  that  response  made  you  feel.  And 
who  wouldn't  want  that  again  and  again? 
Self-censorship  is  caused  as  much  by  inter- 
nalized convention  and  restrictions  as  it  is 
by  compulsion  to  repeat  pleasant  fulfilling 
experiences. 

Spend  time  dispelling  those  imaginary 
outside  demons  and  internalized  no-no's, 
but  spend  more  time  neutralizing  praise 
and  recognition.  Accomplishments  are 
great  for  your  self-esteem  and  to  help  you 
raise  funds  for  future  films,  but  they  are 
deadly  when  you  want  to  try  new  things. 
Remember  that  audiences  responded  to 
your  previous  work,  and  new  audiences 
will  respond  to  your  future  work.  And  in 
the  remote  event  that  absolutely  nobody 
watches  or  likes  your  new  risque  docu- 
mentary, your  previous  films  with  its  many 
awards  won't  evaporate.  Your  talent 
remains  regardless  of  how  your  work  is  per- 
ceived. Make  another  film. 

Dear  Doc  Doctor: 

I  have  an  experimental  film  back- 
ground, but  I'm  now  making  a  social 
issue  documentary.  Will  my  film  lose 
credibility  if  I  use  experimental  tech- 
niques to  convey  a  very  serious  topic? 

Format  and  content — format  or  con- 
tent. Painters,  musicians,  and  writers  are 
free  to  play  with  form.  Their  days  of  duti- 
fully representing  reality  are  far  behind. 
Documentary  filmmakers  are  in  the  midst 
of  this  dilemma  and  more  so  now  that  doc- 
umentaries are  going  mainstream. 


June  2005  I  The  Independent     17 


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Your  current  dilemma  can  find  origins 
with  the  first  film  ever  made — a  short 
piece  by  Lumiere  featuring  a  train  pulling 
into  the  station  that  had  everybody  in  the 
audience  running  for  their  lives.  They 
believed  that  what  they  saw  was  real  and 
that  it  was  happening  at  that  very 
moment. 

Later  on,  we  became  aware  that  what 
we  saw  wasn't  actually  happening  right 
then  and  there,  yet  we  remained  con- 
vinced that  we  could  capture  reality  with  a 
film  camera.  Everything  was  a  true  repre- 
sentation. Or  was  it  a  truthful  representa- 
tion? And  since  then,  audiences  have  sur- 
vived and  adapted  to  MTV's  fast-cutting 
style  and  the  oxymoron  of  reality-TV.  If 
filmmaking  managed  to  harbor  any  secrets 
of  how  reality  was  manipulated  or  re-cre- 
ated on  the  screen,  an  overdose  of  "behind 
the  scenes"  shows  and  the  extras  on  DVDs 
has  taken  care  of  that. 

Be  mindful  that  the  audience  you  are 
talking  about  is  much  more  informed 
today  about  style  and  medium  than  at  any 
other  time  in  history.  Your  concerns  are 
not  unfounded,  though.  You  wouldn't  like 
to  startle  a  fully  hypnotized  audience  with 
a  technique  that  takes  them  out  of  their 
trance.  But  rather  than  worrying  about 
style,  concern  yourself  with  consistency  of 
style. 

If  you  present  your  experimental  style 
or  technique  in  context,  any  audience  will 
almost  certainly  follow  your  reasoning. 
Once  you  establish  a  convention,  whatev- 
er that  convention  is,  you  just  need  to 
remain  faithful  to  it  throughout  the  film. 
Filmmaker  and  media  artist  Liz  Canner 
can  attest  to  this.  "For  the  most  part,  we 
are  used  to  having  our  information  pack- 
aged in  a  specific  way,"  she  says. 
"Therefore  I  have  found  that  presenting  a 
topic  using  experimental  methods  can 
often  help  audiences  to  see  an  issue  in  a 
new  way." 

There  is  a  new  breed  of  viewers  that  can 
read  between  the  lines,  or  in  this  case, 
between  the  frames.  Why  not  give  them  a 
challenge? 

Want  to  ask  the  Doc  Doctor  a  question  for 
a  future  issue  o/The  Independent.;  Write  to 
her  at  info@documentarydoctor.com. 


18  The  Independent  I  June  2005 


PROFILE 


N6 


Vacancy 


Michael  Kang's  The  Motel  only  has  room  for  good  writing 


By  PJ  Gach  and  Rick  Harrison 

The  first  rule  of  fiction  writing  is  to 
write  what  you  know.  The  second 
rule  of  fiction  writing  is  to  write 
what  you  know.  Sort  of  like  Fight  Club. 
Although,  instead  of  advice  from  a 
manipulative,  mindless  movie  that  thinks 
it's  a  lot  smarter  than  it  is,  writing  what 
you  know  means  something — it's  more 
than  bare  knuckles  to  the  chin.  And 
Michael  Kang — whose  award-winning 
film  The  Motel  shares  a  Chinese 
American  adolescent's  story  without  the 
benefit  of  some  wacky  kung  fu  choreog- 
raphy or  the  august  blessing  of  a  bankable 
name  like  Ang  Lee — knows  that  writing 
what  you  know  in  the  face  of  all  market 
wisdom  proves  the  oxymoronic  nature  of 
the  phrase  "market  wisdom."  What  you 
know  is  the  only  thing  you  have  worth 


sharing  as  a  filmmaker. 

"As  an  artist,  I  really  wanted  to  tell  this 
story,"  Kang  says.  "Playing  the  market  is 
impossible.  If  you  try  to  set  out  to  do 
something  marketable,  you  will  fail.  The 
only  sure  bet  is  to  do  something  you 
believe  in." 

^hot  in  the  summer  of  2003  on  loca- 
tion in  Poughkeepsie,  New  York,  and 
premiering  at  Sundance  this  past  January, 
The  Motel  tells  the  quiet  story  of  13-year- 
old  Ernest  Chin  (Jeffrey  Chyau),  and  20- 
something  Sam  Kim  (Sung  Kang;  Better 
Luck  Tomorrow,  2002),  a  lonely  player 
type  with  a  troubled  recent  past  who 
drives  a  fancy  car,  drinks  scotch  from  the 
bottle,  and  has  different  women  in  his 
room  every  night.  The  two  become  ten- 
tative friends  as  Sam  tries  to  guide  Ernest 


through  the  oily  waters  of  adolescence. 

Though  cast  almost  exclusively  with 
Asian  actors,  it  would  be  hard  to  find 
someone  who  couldn't  relate  to  the  film's 
themes  of  intergenerational  disconnect 
between  children  and  parents  and  the 
clueless,  flailing  gestures  of  burgeoning 
sexuality. 

"It's  universal,"  says  Kang,  a  Korean 
American  born  and  raised  in  Rhode 
Island.  "There  isn't  anyone  who  hasn't 
gone  through  puberty  and  had  a  horrible 
time  with  it." 

And  although  Kang  is  confident  that 
his  film  will  find  a  distributor — having 
already  garnered  a  slew  of  honors  for  it, 
including  a  script  that  won  the  24th 
annual  Asian  American  International 
Film    Festival    Screenplay   Competition 


June  2005  I  The  Independent     19 


! 

1     TANCY  ] 

1                               1 

Jade  Wu  (Ahma),  Alexis  Chang  (Katie),  Stephen  Chen  (Gung  Gung),  and  Jeffrey  Chyau  (Ernest 
Chin)  in  The  Motel  (Tom  Legoff) 


and  the  2003  Sundance/NHK  Intern- 
ational Filmmakers  Award — polishing 
what  he  knew  into  what  could  play 
dramatically  took  some  extra  effort. 

"I  knew  the  premise,  I  knew  the  issues, 
but  I  wasn't  really  sure  what  the  resolu- 
tion to  it  was,"  Kang  says  of  his  script 
troubles.  A  friend  recommended  that  he 
try  the  Sundance  Screenwriters  Lab  for 
help.  "I  had  no  idea  what  the  labs  were," 
he  says.  "Actually,  I'm  glad  that  I  didn't 
know  what  they  were,  because  if  I  did,  I 
probably  would  not  have  gotten  in.  I 
would  have  been  too  calculating.  I  would 
have  fucked  it  up." 

But  the  education  of  35-year-old 
Michael  Kang  developed  as  naturally  as 
his  script:  with  persistence  and  a  little 
help  from  his  friends. 

In  a  diner  in  New  York  City's  Union 
Square  on  a  cold  February  day,  Kang  dis- 
cusses his  young  filmmaking  career, 
beginning  with  his  first  project,  1998's  A 
Waiter  Tomorrow.  A  short  film  about 
revengeful  waiters  based  on  a  theater 
piece  created  by  a  performance  troupe 
Kang  was  involved  with,  it  was  more  than 
just  an  opportunity  to  extend  the  life  of  a 
skit;  it  was  his  chance  to  finally  direct  a 
film  and  gain  essential  experience. 

"I  basically  learned  everything  I  need- 


ed to  know  on  a  technical  level  about 
making  a  film  in  three  days,  and  I  made 
it  as  difficult  as  possible,"  Kang  says.  "I 
had  a  whole  ballistics  team,  special 
effects,  make-up,  and  fight  choreogra- 
pher. After  that  experience,  I  realized  I 
knew  everything  that  I  could  have 
learned  in  four  years  of  film  school,  and 
then  I  just  jumped  in  and  started  doing 
stuff."  A  Waiter  Tomorrow,  along  with  his 
next  short,  Japanese  Cowboy  (2000)  both 
won  awards. 

Not  bad  for  a  filmmaker  who  original- 
ly wanted  to  be  a  playwright.  "I  always 
loved  film,"  Kang  says.  "I  think  that 
Hollywood  gives  film  a  bad  name,  so  I 
was  embarrassed  that  I  liked  it  so  much. 
It  was  more  respectable  to  be  a  play- 
wright— more  respectable  to  be  a  'real' 
writer  than  a  screenwriter.  It  took  me 
awhile  to  admit  that  I  really  wanted  to 
make  films,  and  that  it  doesn't  have  to  be 
what  the  studios  are  pumping  out." 

Kang,  whose  father  teaches  physics  at 
Brown  and  whose  mother  taught  nursing 
at  the  University  of  Rhode  Island,  went 
to  New  York  University  to  study  dramat- 
ic writing,  hoping  to  find  the  New  York 
he  saw  in  the  films  of  the  70s.  "When  I 
came  here,  I  was  like,  what  happened?  I 
feel  like  it  still  exists  in  the  outer  bor- 


oughs, like  Queens  and  the  Bronx — that 
gritty,  real  New  York." 

Soon  after  moving,  Kang  wrote  and 
directed  Bike  Messengers  and  The  Cycle 
Messenger  World  Championship  (2000),  a 
series  of  short  documentaries,  and  he 
became  a  founder  of  Roshomon,  a  New 
York  City  based  screenwriting  group.  He 
also  got  involved  with  the  Asian 
American  Screenwriter's  Circle  and  a 
theater  troupe  called  Peeling  the  Banana. 

"It  was  the  normal  kind  of  experimen- 
tal theater,"  Kang  says  of  the  group's 
work,  "where  you  pull  your  pants  down 
on  stage." 

When  asked  how  he  balanced  his 
many  projects  and  obligations,  Kang 
laughs  and  says,  "I  have  a  hard  time  say- 
ing no.  I  feel  like  if  I  like  what  I'm  doing, 
I  don't  pay  attention,  it  finds  its  way  into 
my  life.  It  comes  in  waves;  different 
things  come  in  at  different  times." 

One  of  those  waves  brought  him  Ed 
Lin,  a  writer  friend  of  Kang  and  a  fellow 
member  of  the  troupe,  who  showed  Kang 
his  short  story  which  later  became  Lin's 
novel,  Waylaid  (Kaya  Press,  2002)  and 
then  The  Motel.  Kang  loved  the  bitter- 
sweet coming-of-age  tale  about  a  father- 
less young  Chinese  American  boy  grow- 
ing up  with  a  miserable,  demanding 
shrew  of  a  mother  a  in  a  rundown  motel, 
and  used  it  as  the  basis  for  a  feature  film 
screenplay.  "[The  film]  is  like  our  two 
takes  on  the  same  premise,"  Kang  says. 
"To  me,  it  was  important  that  Lin  got 
credit  up  there  to  show  that  we're  all 
working  together." 

Meanwhile,  making  shorts  began  to 
pale.  "It  got  to  the  point  where  I  knew 
exactly  how  many  pizzas  I  had  to  order 
for  a  production,"  Kang  says.  "I  lost  the 
joy  of  storytelling.  It  was  all  very  prag- 
matic...and  then  I  had  this  script  [The 
Motel\.  But  I  didn't  understand  how  this 
script  could  become  something  that  gets 
on  screen  and  someone  gives  you  a  sack 
of  money  to  make." 

The  Motelszi  on  a  shelf  for  almost  nine 
months.  Eventually,  he  entered  it  in  the 
Asian  American  International  Film 
Festival  Screenplay  Competition  and 
won.  Kang,  whose  college  roommate  was 
ushered  into  Hollywood  by  director  and 
producer  Ivan  Reitman,  started  talking  to 


20  The  Independent  I  June  2005 


people  about  the  project,  and  that's  when 
the  idea  of  applying  to  the  Sundance 
Labs  surfaced.  "It  was  funny  because  a 
year  and  a  half  before  that,  I  had  a  couple 
of  friends  who  had  mentors,  and  I  didn't 
know  where  to  find  one.  I  feel  like  that 
active  wish  on  my  part  [to  have  a  men- 
tor], made  me  open  to  knowing  that  I 
had  a  lot  more  to  learn,  and  I  realized 
that  if  you  ask  for  help,  people  do  want  to 
help  you.  So,  I  just  opened  myself  up  and 
I  think  that's  what  happened." 

The  screenwriter's  lab  led  to  the 
filmmaker's  lab  and  then  back  to  anoth- 
er screenwriter's  lab — all  through 
Sundance.  And  with  each,  Kang  and  The 
Motel  gained  indispensable  experience 
and  resources.  The  Sundance  labs,  taught 
by  volunteer  veterans  of  both  big  studio 
and  independent  productions,  offer  film- 
makers not  just  greater  insight  into  the 
creative  process,  but  often  the  opportuni- 
ty to  grab  the  guiding  hand  of  a  mentor. 

It  was  during  the  filmmaker's  lab 
where  Kang  met  producers  Matthew 
Greenfield  and  Gina  Kwon  and  director 
Miguel  Arteta  {Chuck  &  Buck,  The  Good 


Girl).  Greenfield  and  Kwon  liked  Kang's 
script  and  agreed  to  become  producers 
for  The  Motel.  Arteta  and  Kang,  close  in 
age,  hit  it  off  right  away,  and  Arteta 
became  Kang's  long-sought-for  mentor. 

The  project  really  started  to  gain 
momentum  once  Greenfield  and  Arteta 
were  on  board,  although  financing 
remained  elusive.  "There  were  a  bunch  of 
people  from  the  labs  who  made  their 
films  this  year,  and  other  New  York  film- 
makers too,  and  I  realized  that  no  two 
films  have  ever  gotten  their  money  the 
same  way,"  Kang  says.  "It  was  a  lot  of 
knocking  on  doors  and  a  lot  of  luck."  In 
time,  Kang  was  introduced  to  Richard 
and  Esther  Shapiro  (creators  of  televi- 
sion's "Dynasty"),  both  active  supporters 
of  young  artists,  who  became  the  execu- 
tive producers  on  the  film  and  made  a 
significant  investment.  A  small  equity 
group  created  by  Kang's  friends  also  con- 
tributed to  the  production. 

Though  as  of  this  writing  the  future  of 
The  Motel  remains  uncertain,  Kang  con- 
tinues to  get  by  with  a  little  help  from  his 
friends.  And  for  them  as  well. 


His  friend  Mira  Nair  ( Vanity  Fair, 
Monsoon  Wedding  gave  a  script  of  his  to 
director  Wayne  Wang  (  The  Joy  Luck  Club, 
Smoke),  who  asked  him  to  shoot  second 
unit  setups  for  the  recent  studio  release 
Because  ofWinn-Dixie.  Currently,  he  is  co- 
writing  a  script  with  Edmund  Lee  called 
Koreatown,  which  he  hopes  will  pay  hom- 
age to  films  like  Serpico  (1973),  and  Dog 
Day  Afternoon  (1975).  Kang  is  also  at 
work  on  a  dark  comedic  play  for  the  New 
York-based  Ma-Yi  Theatre  Company. 

When  asked  how  he  selects  the  materi- 
al he  chooses  to  write  about,  Kang  says, 
"Anything  I've  done  creatively,  it's  always 
been  about  filling  a  void.  I've  never  seen 
this  movie,  I've  never  seen  this  short,  I've 
never  seen  this  performance  before.  It's 
trying  to  figure  out  what  I  want  to  see.  So, 
I  don't  think  I'm  limited  to  just  the  inde- 
pendent route.  It  could  be  a  huge 
Hollywood  blockbuster  that  I've  never 
seen  before.  I  just  feel  like  I'm  driven  by 
that  feeling  of  'I'd  like  to  see  that  movie.'" 

It's  a  pure  and  infectious  drive  that 
makes  others  want  to  see  that  movie  too, 
whatever  it  is.  "& 


Film/Video 

Bachelor  of  Fine  Arts 


•  Digital  Video  •  16mm  Film  •  Lighting/Set  Design 

•  Cinematography  •  Film  Editing  •  Audio-Post  Production 

•  Script  Writing  •  Film  History  •  AVID  Non-Linear  Editing 

•  Directing 


1.631.424.7000  x2110    www.ftc.edu 


FIVE  TOWNS  COUEGE 

E-mail  Admissions@ftc.edu 

305  N.  Service  Road  Dix  Hills,  N.Y.  11746-5871 


m** 

Plecise  send  me  a  Five  Towns  College  Catalog 


Name  _ 
Address 
Town  — 


State/Zip 

Telephone  ( - 
Email  Address  - 
Year  of  Interest 


.@. 


□  Fall  □  Spring  □  Summer 


□  l  ndergraduate    □  Graduate 


June  2005  I  The  Independent     21 


FESTIVAL  CIRCUIT 


Good  Lord, 


Not  Another  Artsy  Film  Festival! 

Reflections  from  the  hi/lo  Film  Festival  founder 


The  hi/lo  Film  Festival  was  held  in  April  2005  in  San  Francisco  (courtesy  of  Marc  Vogl) 

By  Marc  Vogl 

I  am  Marc  Vogl,  a  30-something  East  Coast  kid  who  came  out  to  San  Francisco  in  the 
90s  following  a  Richard  Dreyfuss-in-CZa^"  Encounters  kind  of  urge.  I  didn't  know  what 
was  luring  me  west  or  what  I'd  find  when  I  got  here,  but  I  was  powerless  to  resist.  And, 
like  the  lemmings  in  Close  Encounters,  I  was  not  alone.  A  critical  mass  of  musicians,  actors, 
comedians,  and  filmmakers  moved  here  on  the  eve  of  the  dot-com  rollercoaster  and  felt  like 
making  our  own  entertainment.  To  that  end  we  seized  the  means  of  production. 

We  rented  theaters. 

We  bought  funny  wigs. 

We  borrowed  cameras 

We  dated  directors  of  photography  (or  tried  to). 

In  a  surprisingly  short  order  a  body  of  work  was  created,  a  school  of  like-minded  artists 
was  unwittingly  formed,  and  a  very  silly  first  movie  was  in  the  can. 

The  film  was  about  a  piece  of  chocolate  that  flies  through  space.  It  was  enigmatically  titled 
Space  Chocolate.  The  film  was  a  commentary  on  an  entire  canon  of  anti-climactic  space 
odysseys,  a  triumph  of  low-budget  puppetry,  and  it  starred  a  modified  Toblerone  traversing 
a  galaxy  of  duvateen  and  Christmas  lights  to  land  in  an  old  pizza  box.  Like  a  sandcastle  made 


The  2005  hi/lo  poster  (Keith  Teleki 


22  The  Independent  I  June  2005 


just  before  the  tide  rolls  in,  it  seemed 
quite  likely  that  no  one  would  ever  see 
this  five-minute  saga.  And,  in  the  grand 
tradition  of  people  determined  to  do 
everything  the  hard  way,  the  film's  direc- 
tors, Brian  L.  Perkins  and  Paul  Charney, 
and  I  founded  the  hi/lo  Film  Festival 
pretty  much  for  the  sole  purpose  of 
showing  Space  Chocolate. 

Interest  in  the  film  festival  picked  up  a 
lot  faster  than  interest  in  our  sweet- 
toothed  inter-stellar  adventure  flick,  and 
since  that  first  festival  in  1997,  thousands 
of  films  have  been  submitted  to  us  (over 
500  this  year).  We've  presented  over  300 
shorts,  features,  docs,  videos,  animations, 
experimentals,  and  indescribable  concoc- 
tions at  screenings  around  the  country 
and  before  eager  crowds  in  the  Bay  Area. 
Local  publications  like  The  San  Francisco 
Bay  Guardian  now  describe  the  festival  as 
"four  days  of  free-thinking  creative  com- 
bustion," and  Film  Threat  recently  paid 
us  the  nicest  complement  I  think  we'll 
ever  get:    "The  hi/lo  Film  Festival  has  a 


program  that  stretches  across  all  emo- 
tions...there  is  an  eclectic  selection  here 
that  personifies  what  being  different  is. 
And  it's  worth  it."  (Oh  yeah,  Space 
Chocolate  ultimately  played  at  a  couple 
other  places  too,  including  an  astronomy 
class  at  the  University  of  Oklahoma.) 

Bringing  together  films  based  on 
something  as  slippery  as  a  "high  concept" 
idea  executed  on  a  small  budget,  has  been 
an  education  in  the  human  imagination. 
I  wish  I  could  say  that  after  watching 
nearly  a  decade's  worth  of  low-budget 
film  submissions  I'd  seen  it  all,  but  I  cer- 
tainly haven't.  Yes,  we've  programmed 
documentaries  about  competitive  table 
setting,  noise  musicians  who  do  it  all  for 
Christ,  and  a  guy  who  makes  art  out  of 
dead  rats  and  his  mother's  dentures.  But 
my  conception  of  how  many  ways  there 
are  to  live  on  this  planet  extends  far 
beyond  the  annual  crop  of  docs  about 
individual  nutballs  and  eccentric  com- 
munities. My  sense  of  the  human  experi- 
ence   is    expanded    by    filmmakers   who 


attach  a  camera  lens  to  a  microscope  to 
make  details  on  a  corroded  spoon  look 
like  a  lunar  surface;  who  convey  demen- 
tia by  rearranging  a  narrative  about 
Alzheimer's  to  reflect  how  a  sufferer 
might  tell  the  story;  who  painstakingly 
animate  the  imagined  telephone  conver- 
sations of  rabbits  and  fish  one  film  cell  at 
a  time;  who  place  a  tortilla  and  an  apple 
in  a  room  and  let  the  cameras  roll;  who 
send  digital  hot  dogs  flying  through  the 
air  while  cranking  up  Foreigner;  and  who 
sit  at  home  alone  in  their  boxers  dispens- 
ing dubious  financial  advice  to  their  dig- 
ital camera. 

When  navigating  through  tapes  and 
disks  of  stories  alternately  surreal,  mun- 
dane, dazzling,  and  totally  unredeeming 
(yes,  we  get  a  lot  of  stinkers)  the  chal- 
lenge is  to  pick  out  the  work  that  starts 
with  an  original  idea  and  ends  up  a  faith- 
fully executed  expression  of  that  initial 
inspiration.  Sometimes  a  filmmaker  sets 
out  to  tell  a  simple  joke,  to  capture  a  sin- 
gle   moment,    to    explain    a    particular 


June  2005  I  The  Independent    23 


Piece  by  Piece  (Nic  Hill) 


Making  Love  (Out  of  Nothing  At  All)  (Michelle  Dean) 


tragedy,  or  to  chronicle  an  entire  life,  but 
each  hi/lo  film  places  ideas  and  creativity 
over  imitation  and  slickness  and  proves,  as 
the  hi/lo  motto  department  is  fond  of  say- 
ing, that  when  it  comes  to  movie-making 
big  imaginations  are  more  important  than 
fat  wallets. 

While  anybody  with  a  $500  video  cam- 
era can  call  themselves  a  filmmaker,  film  is 
a  wretchedly  unforgiving  medium,  and 
making  a  film  that  succeeds  on  its  own 
terms  is  very  difficult.  And,  for  better  or 
worse,  film  is  also  the  artistic  medium  the 
average  Joe  feels  most  qualified  to  critique. 
Most  people  may  not  be  able  to  analyze  a 
poem's  sensibility  or  expound  upon  a 
sculpture s  form,  but  everyone  can  tell  you 
what  they  thought  about  the  last  movie 
they  saw. 

Looking  around  at  the  stunning  num- 
ber of  film  festivals  in  America  it's  easy  to 
conclude  that  all  a  festival  organizer  has  to 
do  is  open  up  the  doors  and  brace  for  the 
stampede  of  cinemaniacs.  Indeed,  all  year 
long  in  the  Bay  Area  fans  are  lining  to  see 
nearly  50  festivals  that  cater  to  101  flavors 
of  film:  gay  films,  black  films,  Jewish 
films,  Arab  films,  Latino  films,  Asian 
American  films,  silent  films,  films  made 
with  cell  phones...  the  list  seems  endless. 
Even  as  I  write  this  in  my  Mission  District 
coffee  shop  someone  has  just  handed  me  a 
promo  flyer  for  his  "slo-mo"  video  fest! 

However,  it's  not  too  hard  to  see  that 
the  entire  community  of  film  festivals 
(Sundance  included)  is  a  niche  market  and 
that  our  collective  audience  is  actually  not 
as  big  as  we  might  think.  I'd  wager  that 
more  people  saw  Garfield — The  Movie 
(2004  box  office  gross  $75  million)  than 
all  the  films  at  all  the  festivals  in  America 
last  year. 

It's  not  that  we're  after  world  domina- 
tion, but  since  film  festival  programmers 
are  pretty  peripheral  taste-makers  it's  cru- 
cial that  the  films  we  program — and  the 
way  we  present  them — inspire  our  audi- 
ence to  want  to  take  another  chance  on 
someone  else's  festival  next  week.  More 
than  that  we  want  to  contribute  to  a  cul- 
ture of  supporting  grassroots  and  small- 
scale  arts  programming  of  every  type. 

At  hi/lo  we  wrestle  with  the  subject  of 
growth  all  the  time.  "Bigger  is  not  better" 
is  the  guiding  principle  of  our  "high  con- 


24  The  Independent  I  June  2005 


cept/low-budget"  approach  to  picking 
films.  We  strive  to  put  films  before  audi- 
ences that  illustrate  how  liberating  a  small 
budget  can  be  and,  by  implication,  how 
enormous  budgets  have  a  way  of  fucking 
up  a  lot  of  really  good  ideas  for  movies. 
This  belief  that  film  festivals,  like  a  paint- 
ing or  a  novel,  should  have  an  appropriate 
size  is  also  the  conceit  that  made  Space 
Chocolate  at  once  a  Star  Wars  parody  and 
something  really  original,  too.  It's  also  at 
the  root  of  why  talented  filmmakers  don't 
all  go  to  Hollywood  or  Vancouver  or 
wherever  they  made  Garfield. 

Sure,  we  want  more  people  to  see  the 
films  we  program,  and  yes  we  want  to  be 
able  to  show  more  films.  But  unless 
Loews  or  AMC  gives  us  the  keys  to  every 
multiplex  in  the  country  our  reach  into 
the  American  mainstream  will  never  be 
complete.  Sometimes  showing  a  few 
films  at  a  few  theaters  for  a  few  days  feels 
as  satisfying  as  bringing  sand  to  the 
beach.  But  when  we  do  get  a  packed 
house  to  see  a  killer  documentary  about 
San  Francisco's  graffiti  history  (and  the 
men's  bathroom  at  the  movie  theater  is 


redolent  with  fresh  tags  at  the  end  of  the 
night),  it  feels  like  we've  moved  the 
chains  forward  just  a  little  bit. 

If  everyone  who  makes  great  high- 
concept/low-budget  films  has  a  surplus  of 
avenues  to  present  their  work,  then 
conduits  like  our  film  festival  wouldn't  be 
necessary.  We  could  pack  up.  We  would  be 
done.  But  the  world  isn't  quite  there  yet. 
For  all  the  growth  and  variety  that  has 
defined  our  festival  over  the  past  eight 
years,  the  raison  d'etre  or  the  hi/lo  Film 
Festival  remains  steadfast  and  true:  some- 
where out  there  someone  is  making  a 
really  brilliant  (some  would  doubtless  say 
stupid)  film,  and  the  world  will  be  a  better 
place  if  people  get  a  chance  to  see  it. 

The  hi/lo  Film  Festival  next  screens  June 
10  at  Automotive  High  School  in  Brooklyn 
as  part  of  the  Rooftop  Film  Series.  For  more 
information  about  the  films  shown  in 
the  festival,  or  to  submit  yours  to  the  next 
one,  please  visit:  www.hilofilmfestival.com. 
And  if  you  really  want  to  see  a  piece  of 
chocolate  fly  through  the  universe,  check  out 
ivww.  killingmylobster.  com. 


Space  Chocolate 

(Paul  Charney,  Brian  L.  Perkins) 


I'm  With  Stupid  (Ben  McCormick) 


■  l    ~i$  \ 


&%  NBC  NEWS  ARCHIVES 


30   ROCKEFELLER  PLAZA,  NEW   YORK,  NY  10112 
TELEPHONE:  212  664   3797     FAX:  212  703  8558 


June  2005  I  The  Independent    25 


By  Rebecca  Carroll 


There  was  one  good  thing  about 
Malcolm  Lee's  1999  studio  film 
The  Best  Man:  Terrence  Howard.  I 
wrote  a  review  of  the  film  for 
Africana.com  (now  Blackvoices.com)  in 
which  I  said  just  that.  I  got  lots  of  emails 
from  angry  black  men  because  I  likened 
the  film  to  an  R&B  video  (and  I'd  say  it 
again  today).  But  Terrence  Howard  was 
something  else.  You  just  sort  of  waited  for 
him  to  enter  the  frame.  Since  then, 
Howard  has  done  over  a  dozen  films, 
including  a  handful  of  independents — 
three  of  which  went  to  Sundance  earlier 
this  year:  The  Salon  (Mark  Brown,  direc- 
tor), Lacka-wana  Blues  (George  C.  Wolfe, 
director),  and  the  festival  darling,  Hustle 
&  Flow  (Craig  Brewer,  director),  which 


was  bought  by  Paramount  for  a  festival 
record  $9  million  and  will  open  theatri- 
cally next  month. 

Howard  plays  DJay,  the  fiercely  bro- 
ken yet  surprisingly  complex  failed  pimp 
and  aspiring  rap  artist.  It's  a  story  that 
from  the  outset  might  sound  familiar — 
the  standard  Horatio  Alger  rags  to  riches 
story  only  DJay  never  becomes  rich 
exactly,  and  his  aspirations  are  propelled 
less  by  pure  ambition  as  they  are  by  emo- 
tional instinct.  Howard  plays  DJay  so 
deeply  wanting,  so  internally  tortured, 
that  you  nearly  forget  he's  a  pimp  (if  a 
not  very  good  one),  and  think  of  him 
more  as  a  sort  of  latter  day  Arthur 
Rimbaud  (who  actually,  might  have  been 
a  better  pimp  than  poet). 


I  recently  sat  down  with  Terrence 
Howard  to  talk  about  Hustle  &  Flow,  and 
his  thoughts  on  filmmaking  and  acting. 

Rebecca  Carroll:  So  Sundance  this 
year — three  films,  and  one,  Hustle  & 
Flow-,  just  blows  up. 

Terence  Howard:  I  had  no  idea  that 
the  film  was  going  to  do  so  well.  I  was 
just  happy  that  Sundance  had  accepted  it, 
but  then  the  reception  and  response  to 
it — halfway  through  the  film  I'm  looking 
around  and  I  see  everyone  glued  to  the 
screen,  some  people  fidgeting  in  their 
seats,  but  it  looked  like  they  needed  to  go 
to  the  bathroom  and  didn't  want  to  miss 
nothing.  And  afterwards,  the  applause — 
they  had  been  applauding  for  a  while  for 


26  The  Independent  I  June  2005 


different  people,  but  then  everyone  stood 
up  when  I  started  walking  to  the  stage.  I 
didn't  expect  that.  I  don't  really  know  what 
surreal  means,  but  that's  the  only  word  I 
can  think  of  to  describe  that  experience. 

RC:  Doesn't  it  make  sense,  though? 
You  poured  your  heart  into  that  part 
and  people  were  applauding  you  for  it. 

TH:  That  I  love.  If  that's  what  they 
were  applauding,  that  I  love. 

RC:  Well  yeah,  what  else  would  they 
be  applauding? 

TH:  I  just... I  don't  know.  I  was  clap- 
ping too,  looking  around  like,  "Where's 
the  star  at,  come  on  man,  where  he  at?" 
And  then  it  was  like,  "Oh,  that's  me." 

RC:  How  did  you  feel  while  you 
were  watching  the  film? 

TH:  I  was  looking  for  moments  that 
weren't  true. 

RC:  Is  that  what  you  do  when  you 
watch  your  performances? 

TH:  If  you're  a  seamstress  you're 
always  looking  for  where  you  missed  a 
stitch  so  you  can  remember  in  the  future 
where  to  be  more  careful.  I  was  looking  at 
the  stitching  of  this  film,  of  this  tapestry 
that  we  created,  and  it  had  a  couple  boo- 
boos,  but  that  added  character  to  it.  I  was 
happy  that  the  boo-boos  fit  along  with 
the  overall  idea  of  what  I  wanted,  what 
we  wanted. 

RC:  How  did  you  first  hear  about 
the  project? 

TH:   Stephanie  Allain.   She   champi- 


(L-R)  Taraji  Henson  as  Shug,  Paula  Jai  Parker  as  Lexus,  Terrence  Howard  as  DJay,  and  Taryn 
Manning  as  Nola  in  Hustle  &  Flow  {Man  Spearman/Crunk  Picture) 


oned  that  thing.  I  was  staying  at  the  Four 
Seasons  in  Beverly  Hills — I  don't  remem- 
ber what  I  was  doing  but  I  was  there  with 
my  kids — and  Stephanie  set  up  a  meeting 
with  my  agent's  assistant. 

RC:  So  you  met  with  her? 

TH:  I  was  like,  "Let's  get  to  the  skinny 
of  it,  cause  I'm  gonna  go  play  with  my 
kids."  She  says,  "Well,  I  got  two  projects 
I  want  to  talk  to  you  about."  The  first 
was  Biker  Boyz,  but  she  says  Derek  Luke 
is  gonna  star.  So  I  say,  "OK,  what's  the 
other  one?"  And  she  tells  me  about  this 
script  Hustle  &  Flow — this  pimp  selling 
weed  who  wants  to  become  a  rapper.  I 
told  her  that  wasn't  the  direction  I  want- 
ed to  go  in,  but  I  liked  the  Biker  Boyz 
idea,  and  I  told  her  if  things  changed 
with  that  to  call  me.  She  said,  "Well,  we 
can't  change  the  lead,  but  there's  some 
other  people  you  can  play."  And  the  next 


thing  I  know,  she's  made  an  offer  for  this 
character  [in  Biker  Boyz],  Chu  Chu.  I  was 
only  supposed  to  work  for  four  days,  but 
she  put  me  up  in  the  Chateau  Marmont 
in  LA  for  like  two  months,  gave  me  a 
huge  allowance  and  just  kind  of  friend- 
lied  up  with  me. 

After  a  month,  she  said,  "I  know  you 
said  no,  but  would  you  meet  with  the 
director  [on  Hustle  &  Flow],  he  just  wants 
to  hear  some  of  your  ideas."  And  I  sat 
down  with  the  director,  Craig  Brewer, 
and  he  started  selling  me  on  it  too,  and  I 
told  him,  "I  just  can't  go  back  to  the  dark 
side,  I  can't  go  back  to  that  place."  And 
he  said,  "That's  why  we  want  you  to  do 
it.  Everybody  else  wants  to  do  it  because 
they  want  to  glorify  it,  and  we  want  you 
because  we  know  you're  not  gonna  be  up 
there  trying  to  glorify  anything  [this 
character]  is  going  through."  And  I  said, 
"Yeah,  but  I  don't  know  if  I'll  be  able  to 


June  2005  I  The  Independent    27 


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(L-R)  Terrence  Howard  as  DJay,  DJ  Quails  as  Shelby  and  Anthony  Anderson  as  Key  in  a 
scene  set  in  a  makeshift  recording  studio  in  Hustle  &  F/ow(Alan  Spearman/Crunk  Picture) 


come  up  out  of  it."  You  dive  into  some- 
thing like  that  you  gotta  be  able  to  come 
up  out  of  it. 

And  from  there,  Craig  just  hounded 
me  for  a  good  six  months.  He  and 
Stephanie  talked  to  Paramount,  MTV, 
Universal,  Focus,  and  all  those  studios 
said,  "We  will  give  you  the  money  to  do 
this  fdm,  but  who  are  you  gonna  use?" 
This  is  before  they  had  me  locked 
down — in  fact,  I  was  still  telling  them  no. 
And  Craig  and  Stephanie  told  these 
studios,  "We  want  to  use  Terrence 
Howard."  The  response  they  got  was, 
"What  label  is  he  on?" 

"Terrence  Howard,  the  actor."  And  the 
studios  were  like,  "Oh,  him?  You  really 
wanna  work  wirh  him?  No,  no,  we  cant 
do  that.  But  you  know,  if  you  put  Ja  Rule 
in  there,  or  Ludacris  in  there,  we'll  give 
you  5  to  10  million  dollars  to  make  it." 
And  Chris  and  Stephanie  really  wanted  to 
make  that  movie,  but  they  said,  "No,  we 
want  Terrence."  You  gotta  reward  that 
type  of  stick-to-it-ive-ness.  They  had  faith. 

RC:  At  what  point  did  you  read  the 
script? 

TH:  Oh,  I  read  it  that  first  time.  Well 
no,  after  I  met  with  Craig.  I  told  him  I 
was  gonna  read  it  before  we  met,  and  I'm 
sitting  there  just  BS-ing  and  he  says  to 
me  at  the  end,  "You  didn't  read  it,  did 
you?"  And  I  was  like,  "No,  I  didn't."  He 
said,  "Just  do  me  a  favor,  just  read  it, 


please.  Just  promise  me  you'll  read  it." 
And  I  gave  him  my  word  so  I  read  it,  and 
it  kind  of  grew  on  me  a  little. 

RC:  I  wanted  to  ask  about  the  script 
because  the  writing  is  fairly  remark- 
able don't  you  think? 

TH:  Well,  see,  Craig  didn't  write  all  of 
ir.  1  put  the  "niggers"  in.  I  spent  three 
months  down  in  Memphis  talking  with 
these  cats,  learning  the  method  of  their 
communication.  There  is  no  way  you  can 
be  that  character  [DJay]  without  being 
true  to  the  language  he  uses.  Its  not 
derogatory  the  way  it's  used  in  Memphis. 
Even  though  it  may  have  derogatory  con- 
notations anywhere  else,  there  it's  just 
part  of  the  communication.  And  I'm  not 
trying  to  be  politically  correct — I  could 
give  a  hot  damn  about  people  in  this 
business,  what  I'm  trying  to  be  is  honest. 
So  I  put  in  all  those  "niggers"  and  people 
kept  telling  me  not  to,  but  I  was  like,  no, 
if  we're  using  Al  Capone  and  Juicy  J  and 
all  these  cats  I've  spent  all  this  time  with, 
this  is  how  they're  talking  to  me.  We 
didn't  have  a  studio  blocking  us,  telling 
us  what  we  could  and  couldn't  do. 
We  were  open  to  tell  the  truth.  So  let's  tell 
the  truth. 

RC:  I  was  also  really  struck  by  the 
women  in  the  film,  because  they  are 
certainly  downtrodden,  but  they're  not 
crushed.    And    that's    a    testament    to 


28    The  Independent  I  June  2005 


'The  director  was  that  pimp  in  a 

figurative  sense — trying  to  get 

everything  done  to  produce  his 

first  film.  I  got  the  most 

information  about  that  character 

from  a  middle-aged  white  guy." 

— Terrence  Howard 


Craig,  is  it  not? 

TH:  Yeah,  but  Craig  was  writing  about 
his  own  life  experiences.  Craig  was  DJay. 
The  director  was  that  pimp  in  a  figurative 
sense — trying  to  get  everything  done  to 
produce  his  first  film.  I  got  the  most 
information  about  that  character  from  a 
middle-aged  white  guy. 

RC:  How  do  you  feel  about  the  film 
now? 

TH:  I  love  it.  I  mean,  we  had  a  hard 
time  because  some  people  in  higher 
places  wanted  DJay  to  be  harder — John 
Singleton  likes  to  makes  tough,  tough 
movies,  and  he  said,  "[DJay's]  gotta  be 
hard,  he's  gotta  be  hard."  I  was  like,  if  he 
was  hard,  then  he  would  be  a  good  pimp, 
but  the  fact  that  he's  a  bad  pimp  is 
because  he  cares,  because  he's  not  hard. 

RC:  So  there  are  a  lot  of  projects 
happening  for  you  right  now — I  saw 
Lackawanna  Blues,  which  I  liked.  Had 
you  worked  with  George  C.  Wolfe 
before? 

TH:  No,  that  was  the  first  time,  and  it 
is  the  gem  of  my  career.  George  stripped 
me  of  anything  that  was  comfortable  and 
challenged  me,  taught  me  to  be  specific. 

RC:  In  more  mainstream  fare,  there's 
been  this  recent  rash  of  formulaic  films 
featuring  black  leads.  They're  not  nec- 
essarily "black  films" — they're  not 
directed  or  written  by  black  people — 
but  they  have  black  people  in  them. 


And  I'm  wondering  for  you,  because 
you've  done  both  independent  and 
mainstream  films,  how  you  feel  your 
experience  is  different  between  some- 
thing for  hire,  or  a  commercial  studio 
film,  and  a  more  independent  film  like 
Hustle  &  Flow  or  Lackawana  Blues. 

TH:  My  nature  is  more  geared  towards 
independent  films.  I  don't  have  an  idea  of 
what  I'm  going  to  do  and  oftentimes, 
unless  the  script  is  flexible  enough  for  me 
to  gain  weight  as  a  character  or  to  lose 
weight  as  a  character,  I  walk  around 
bunched  up  or  too  tight.  I  need  the  free- 
dom that  comes  with  independent  films. 
We  couldn't  have  accomplished  what  we 
did  with  Hustle  &  Flow  if  we'd  had  a  stu- 
dio behind  us.  It's  like  street-ball  players 
compared  to  NBA  players.  NBA  players 
could  never  accomplish  what  they  accom- 
plish at  street-ball  because  street-ball  is  all 
heart — you  gotta  come  with  that  to  really 
play.  Whereas  NBA  is  structure  and  fran- 
chise and  whatever  they  got  going  with 
endorsements. 

RC:  A  lot  of  actors  who  do  both  say, 
"I'll  do  a  couple  of  studio  films  so  I  can 
afford  to  make  some  independent 
films."  Is  that  you're  model  too? 

TH:  That's  the  formula,  yeah. 

RC:  What's  next  for  you? 

TH:  I'm  looking  forward  to  playing  Joe 
Louis  for  Spike  Lee  next  year.  We're 
gonna  do  his  life  story. 


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June  2005  I  The  Independent  29 


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Taryn  Manning  as  Nola  and  Terrence  Howard  as  DJay  in  Hustle  &  Flow  (Mart 
Spearman/Crunk  Picture) 


RC:  Have  you  worked  with  Spike? 

TH:  No. 

RC:  That'll  be  a  great  collaboration. 

TH:  Then  I'm  gonna  play  another  cat 
named  Petey  Greene,  who  was  a 
Washington,  DC  disc  jockey  in  the  late 
60s  and  70s  who  became  a  worldwide 
celebrity  and  hated  that.  And  then  I'll 
probably  retire. 

RC:  You  can't — your  audience  won't 
let  you. 

TH:  I'm  just  tired  of  being  other  peo- 
ple. I  want  to  see  who  I  am.  And  when  I 
say  I'm  tired,  I  mean  this  hustle  that  I've 
been  on  for  the  last  10  years,  every  day, 
365  days  a  year — you  can't  do  that  forev- 
er. You  need  a  rest  in  between,  and  then 
that  allows  other  actors  to  come  in  and 
do  what  they're  gonna  do.  You  can't  be 
greedy  and  try  to  hog  the  whole  world, 
you  know?  You  can  only  spread  your  can- 
vas but  so  far.  You  may  light  up  the  whole 
house,  but  only  for  a  minute. 

RC:  But  you  must  really  love  some 
of  what  you  do. 

TH:  Oh,  I  love  the  acting  part.  I  just 
hate  the  marketing  of  it,  because  I  have  to 
become  a  commodity.  And  so  it's  like, 


"OK,  Terrence,  come  on!  Be  this!"  I  can't 
do  that.  It  takes  a  long  time  to  evoke  some 
spirit  from  some  place  and  if  you  try  to 
rush  it,  you  might  get  some  spirit  from 
some  place  you  didn't  want. 

RC:  Any  interest  in  directing? 

TH:  One  day.  But  first  I  want  to 
develop  a  whole  new  way  of  shooting. 
The  way  we're  shooting  now  is  archaic, 
it's  wrong. 

RC:  What  do  you  mean? 

TH:  We  need  a  whole  new  camera  that 
can  catch  real  room  tones. 

RC:  Is  it  a  different  kind  of  shooting 
or  a  different  kind  of  filmmaking? 

TH:  A  combination  of  the  both, 
because  you  have  to  create  a  mood  on  the 
set  for  the  shooting  process,  but  then  the 
filmmaking  itself — it  takes  a  true  cine- 
matic, organizational  genius  to  be  a  great 
director. 

RC:  That's  why  there  are  so  few  good 
directors  out  there. 

TH:  There  are  about  three  directors  in 
the  world  right  now.  The  rest  are  just 
pretending.  ~k 


30    The  Independent  I  June  2005 


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It's  Now  or  Ne 


Elvis  Mitchel 
gets  busy 

By  Rick  Harrison 

Elvis  lives. 

It's  true.  And  in  fact,  he  was  reached 
by  phone  in  room  633  of  the  Weston 
Hotel  in  Southfield,  Michigan,  not  far 
from  Detroit,  for  this  article.  He  sound- 
ed healthy,  busy,  and  happy  with  where 
life  has  taken  him.  A  Weston  front  desk 
manager  reported  no  .44-caliber  bullet 
holes  in  the  rooms  television  set. 

Of  course,  Elvis  Mitchell  (sorry  if  you 
had  someone  else  in  mind)  can  be  as 
notoriously  restless  as  any  king  wearing 
many  crowns  and  stuck  in  a  stuffy 
throne  room.  A  film  critic,  studio  devel- 
opment executive,  radio  and  TV  show 
host,  visiting  Harvard  professor,  and 
media  pundit,  Mitchell  will  serve  as  guest 
curator  at  this  month's  Los  Angeles  Film 
Festival.  Mitchell,  who  has  been  sneered 
at  for  Hollywood  hobnobbing  and  psy- 
choanalyzed in  the  press  and  online  after 
he  quit  his  job  reviewing  films  at  The  New 
York  Times  in  May  2004  when  his  col- 
league A.O.  Scott  was  promoted  to  chief 
film  critic,  doesn't  care  much  what  people 
think  of  him.  He  does  what  he  does.  And 
that's  more  than  most. 

"I  learned  from  my  father  that  working 
hard  will  never  kill  you,"  Mitchell  says 
while  visiting  family  in  his  hometown. 
"You  might  wish  it  does,  but  it  never 
does." 

His  father  worked  a  day  shift  at  a  dairy 
plant  and  nights  at  an  industrial  laundry 
until  he  retired.  His  mother,  stayed  home 
with  Elvis  and  his  eight  brothers  and  sis- 
ters. 

"I  always  try  to  take  my  life  one  day  at 
a  time,"  says  Mitchell,  44.  "Like  the  advice 
Kevin  Cosrner  gave  Tim  Robbins  in  Bull 
Durham." 


Elvis  Mitchell  in  Santa  Barbara,  2005 
(Rebecca  Sapp/Wirelmage.com) 


These  recent  days  find  Mitchell  in  some 
new  territory  after  he  accepted  a  job  in 
February  with  Columbia  Pictures  to  over- 
see the  studio's  New  York  development 
and  production  office  as  executive  produc- 
tion consultant  along  with  producer 
Deborah  Schindler  {Maid  in  Manhattan, 
Mona  Lisa  Smile).  And  now,  he's  taking  a 
more  prominent  role  in  helping  IFP/Los 
Angeles  with  their  film  festival,  running 
June  16-26. 

Behind  the  scenes,  Mitchell  has  helped 
festival  director  Richard  Raddon  and  pro- 
gramming director  Rachel  Rosen  for  the 
past  few  years,  offering  advice  and  some 
program  choices.  "We  just  came  out  of  the 
closet  with  it  this  year,"  Mitchell  says.  "I'm 
honored."  He  will  select  a  number  of  spe- 
cial screenings  and  moderate  discussions 
and  seminars. 

Although  the  slate  of  films  remains  in 
flux  as  of  this  writing,  leaving  Mitchell 


tight-lipped  about  what  to  expect,  he  says 
he  was  proud  that  the  festival  will  be  pay- 
ing tribute  to  the  recently  deceased  Ossie 
Davis  with  a  newly  discovered  print  of 
Gone  Are  the  Days,  the  film  adaptation  of 
Davis's  play  of  the  same  name. 

Mitchell,  an  over  6-foot  tall  black  man 
with  2-foot  long  dreadlocks  and  a  taste  for 
Helmut  Lang  suits,  hopes  to  use  his  influ- 
ence to  continue  the  festival's  tradition  of 
spotlighting  minority  filmmakers. 

"One  of  the  reasons  I'm  eager  to  do  this 
is  that  they  don't  treat  filmmakers  of  color 
as  needing  to  go  in  this  special  box,"  he 
says.  "It's  just  part  of  the  same  experience. 
Everything  intersects  and  everyone 
becomes  influenced  by  everyone  else. 
That's  important  because  it  says  you  can't 
pretend  one  kind  of  film  is  better  and  the 
other  is  some  kind  of  fluke  we  shall 
acknowledge  only  on  a  periodic  basis." 

While  the  prospect  of  helping  advance 
the  racial  composition  of  what  appears  on 
screen  continues  to  motivate  him, 
Mitchell  doesn't  expect  it  will  dominate 
his  choices  as  a  curator  or  in  his  develop- 
ment job  to  the  detriment  of  good  story- 
telling. "I'm  a  black  person  in  the  United 
States,"  he  says.  "I  would  certainly  like  to 
see  my  life  reflected  in  film,  but  also  love 
genre  films  and  all  those  things." 

Some  media  reports,  including  a  partic- 
ularly stinging  New  York  magazine  article 
from  May  10,  2004  just  as  Mitchell  was 
leaving  The  Times,  speculated  that  the 
move  was  at  least  partly  based  on  the 
departure  of  his  friend  and  managing  edi- 
tor Gerald  Boyd,  who  provided  one  of  the 
few  other  black  faces  at  229  W  43rd  St. 
The  newspaper  isn't  exactly  called  "The 
Old  Gray  Lady"  because  it's  equal  parts 
black  and  white. 

But  Mitchell  submits  that  his  reasons 
for  leaving  were  quite  simple.  "They  made 
a  change  I  wasn't  happy  with  so  I  quit,"  he 
says,  referring  to  Scott's  promotion.  "If  I 
was  told  that  was  going  to  happen  when 
they  hired  me,  I  might  have  thought  dif- 
ferently about  taking  the  job." 

And  as  for  any  discomfort  working  in 
such    lily-white    surroundings,    Mitchell 


32  The  Independent  I  June  2005 


shrugs  it  off  with  clearheaded  realism.  "It 
is  a  very  white  place,  but  what  isn't?"  he 
asks.  "Is  it  whiter  than  ABC  News  or  Time 
magazine?  I've  never  worked  in  a  place 
that  wasn't  predominantly  white." 

And  then  there's  Harvard,  that  other 
bastion  of  black  culture.  A  graduate  of 
Wayne  State  University  with  a  degree  in 
English  literature,  Mitchell  has  worked 
two  stints  at  Harvard  as  a  visiting  lecturer, 
teaching  courses  titled  "History  of 
American  Film  Criticism"  and  "The 
African-American  Experience  in  Film: 
1930-1970."  In  October  of  2002,  Henry 
Louis  Gates,  invited  Mitchell  to  deliver 
the  Alain  Leroy  Locke  lectures  for  the 
African  American  studies  department. 

For  his  first  semester  at  Harvard, 
Mitchell  flew  back  and  forth  to 
Cambridge  from  his  other  full-time  job  at 
The  Times,  something  that  reportedly  gen- 
erated quizzical  looks  from  a  few  of  his 
colleagues  at  the  paper,  and  perhaps 
helped  generate  a  mixed  bag  of  reviews 
from  students.  The  Harvard  Crimson 
reported  that  his  lecturers  mostly  consist- 
ed of  watching  films  and  listening  to 
Mitchell  talk  about  them  for  an  hour 
afterwards,  peppered  with  sporadic  read- 
ing and  writing  assignments  and  the  occa- 
sional surprise  guest  culled  from  his 
coterie  of  notable  friends,  such  as 
Newmarket  Films  honcho  Bob  Berney 
and  last-day-of-class  treat  Bill  Murray. 

As  always,  Mitchell  is  realistic  about  the 
learning  curve  of  teaching  and  how  to 
structure  lectures,  balancing  the  films  and 
the  readings.  "I  think  I'm  learning  how  to 
do  it,  too,"  he  says.  "I  get  better  at  it  all  the 
time." 

Mitchell's  gigs  with  Harvard,  the  LAFF, 
and  Columbia  aren't  his  first  forays  outside 
of  film  criticism.  In  1992  Brandon 
Tartikoff,  the  NBC  programming  whiz 
who  served  a  brief  tenure  as  studio  chief  at 
Paramount  Pictures,  brought  his  friend 
Mitchell  on  board  as  a  vice  president  of 
development.  Tartikoff  left  shortly  after- 
wards for  personal  reasons,  and  Mitchell, 
who  continued  to  review  films  on  NPR's 
Weekend  Edition,  led  to  his  firing  six 
months  later  for  what  Paramount  cited  as 
a  conflict  of  duty. 

But  Mitchell  sees  that  time  differently. 
"It  was  not  a  conflict  of  interest,"  he  says. 
"I  was  never  going  to  hide  my  opinion. 


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June  2005  I  The  Independent  33 


ZuSare 


They  told  me  to  tell  them  what  I  thought 
and  what  kind  of  films  I  wanted  to  see 
made.  As  a  critic,  I  couldn't  be  dishonest 
anyway.  But  once  Tartikoff  left,  they  really 
didn't  care  about  me,  and  I  lost  my  cover. 
It  was  like  being  in  Saigon  in  1975  trying 
to  get  to  the  roof  of  the  US  embassy." 

And  as  for  cracks  at  his  character  for  his 
self-promotional  knack,  his  glamorous 
lifestyle,  and  high-powered  industry 
friends,  Mitchell  strides  past  the  fray.  "I  go 
out  to  dinner,  I  dress  well,"  he  says.  "If  you 
want  to  create  some  kind  of  envy,  I  don't 
know  what  that's  all  about.  I'm  not  in  high 
school  or  anything.  I've  never  hid  any 
opinion  from  anybody  I  don't  care  what 
anyone  says." 

At  the  moment,  Mitchell  cares  most 
about  obtaining  some  positive  press  for 
the  LAFF,  something  he  says  has  somehow 
fallen  below  the  festival  circuit  radar.  "It's 
still  defining  a  role,"  he  says.  "I'm  not  sure 
why  they  don't  get  as  much  press  as  they 
should;  it's  where  movies  come  from." 

One  place  they  don't  often  come  from  is 
Detroit,  where  Mitchell  didn't  have  any 
real  film  or  media  role  models  growing  up. 
"This  wasn't  something  I  always  wanted  to 
do,"  he  says  of  his  multifaceted  film  career. 
"I  didn't  know  anyone  who  grew  up  mak- 
ing money  in  the  media."  As  an  engineer 
at  his  college  radio  station,  he  got  started 
reviewing  films  for  that  most  simple  of 
reasons.  "I  liked  the  idea  of  seeing  movies 
for  free,"  he  says.  "It  made  dating  really 
cheaper." 

But  after  stretches  at  the  Fort  Worth 
Star-  Telegram,  the  Detroit  Free  Press,  L.A. 
Weekly,  California  magazine  and  the  host- 
ing duties  for  "The  Treatment"  on  KCRW 
and  "Independent  Focus,"  an  interview 
program  on  the  Independent  Film 
Channel,  Mitchell  professes  his  only  long- 
term  goals  are  more  day-to-day  Bull 
Durham  than  Titanic  king-of-the-world. 
"I  just  want  to  keep  working  in  the  indus- 
try," he  says.  "I've  been  incredibly  fortu- 
nate; a  lot  of  talented  people  haven't  been 
as  fortunate." 

But  is  he  restless?  "Restless  is  probably  a 
good  word  for  it,"  he  says.  "It  never  hurts 
to  have  new  experiences  and  keep  work- 
ing. Working  can  aid  learning." 

And  Elvis  Mitchell  lives  to  learn.  •& 


—**-":£»3K" 


June  2005  I  The  Independent  35 


CHANG 

®FPJ) 

WEST 


BY  ELIZABETH  ANGELL 

In  March,  board  members  of  IFP  West,  the  Los  Angeles  branch  of  the  influential  indie 
advocacy  and  service  group,  reportedly  agreed  to  rename  their  organization,  removing 
the  IFP  brand  from  their  official  moniker.  The  name  change  is  apparently  part  of  IFP 
West's  move  to  relaunch  itself  as  an  autonomous  entity,  though  there  is  no  indication 
that  the  organization  will  alter  its  mission  of  supporting  independent  filmmakers.  The  new 
group  will  continue  to  run  the  Los  Angeles  Film  Festival  (which  runs  this  month)  and  the 
Independent  Spirit  Awards,  two  enormously  successful  and  popular  events  wholly  owned  by 
IFP  LA. 

Though  no  official  announcement  was  made  at  the  time  this  issue  went  to  print,  the  pro- 
posed change  sent  ripples  through  the  independent  film  community.  The  issues  at  stake  are 
part  of  a  larger  debate  about  the  character  and  future  of  independent  film,  and  some  film- 
makers and  indie  advocates  worry  that  this  move  is  a  part  of  a  larger  trend  away  from  true 
independence  and  towards  a  kind  of  compromised  "Indiewood."  Has  a  community  that 
once  prided  itself  on  its  outsider  status  refashioned  itself  in  Hollywood's  image? 

The  six  IFP  branches — Los  Angeles,  New  York,  Miami,  Chicago,  Seattle,  and 
Minneapolis — have  always  had  a  loose  affiliation.  The  Independent  Features  Project  was 
founded  in  New  York  in  1 979  as  a  place  where  filmmakers  could  meet  and  share  ideas  and 
contacts.  Soon  it  began  to  make  equipment  available  to  its  members  and  to  help  them  learn 
how  to  use  it.  "It  was  a  gathering  place  for  independent  filmmakers,"  says  Peter  Belsito,  one 
of  IFP's  founding  members.  "Nothing  like  that  existed  at  the  time." 

Belsito  helped  found  IFP  West  a  year  later.  Though  at  the  time  there  was  talk  of  aligning 
the  two  organizations  more  closely,  they  remained  separate  entities,  each  with  their  own 

36  The  Independent  I  June  2005 


boards,  staffs,  and  fundraising  arms. 
The  other  regional  offices  were 
opened  shortly  thereafter,  and  each 
followed  the  same  pattern.  Today, 
they  share  a  website  and  a  magazine, 
Film-maker,  but  little  else. 

Though  a  younger  sibling  to  IFP 
New  York,  IFP  West  has  become 
the  biggest  of  the  IFP  branches, 
with  an  annual  revenue  stream  of 
close  to  $4  million  and  more  than 
6,000  members.  By  comparison, 
New  York  pulls  in  just  over  $2  mil- 
lion and  has  a  membership  base  of 
about  2,000.  The  remaining  four 
have  budgets  that  hover  well  under 
$1  million  and  a  combined  mem- 
bership of  just  over  1,000  members. 
IFP  West,  in  other  words,  has 
become  the  800-pound  gorilla  of 
the  group. 

IFP  West  owes  a  good  deal  or  this 
impressive  budget  and  higher  pro- 
file to  the  Independent  Spirit 
Awards,  which  the  group  launched 
in  1984.  Over  the  past  20  years,  the 
Indie  Spirits  have  become  a  very  big 
deal.  Though  they  are  billed  as  the 
"laid-back  yin  to  Oscar's  yang,"  they 
are  just  as  much  a  cannily  marketed 
celebrity  fest  as  their  mainstream 
doppelganger.  The  event  is  self-con- 
sciously tied  to  the  Oscars 
timetable,  always  taking  place  the 
Saturday  before  the  Academy 
Awards.  When  that  ceremony 
moved  from  March  to  February  a 
few  years  ago  in  order  to  stave  off 
award-season  fatigue,  the  Indie 
Spirits  migrated  with  them.  Held  in 
a  massive  tent  in  Santa  Monica,  the 
Indies  now  attract  easily  as  many 
stars  as  the  Oscars,  and  dressed  in 
jeans  and  floaty  summer  dresses, 
they  look  like  they're  having  a  much 
better  time. 

The  awards  now  attract  a  strictly 
A-list  crowd.  Tom  Cruise  was  the 
honorary  chair  of  2004s  ceremony, 
and  while  they  have  traditionally 
been  hosted  by  John  Waters,  the 
Indie  Spirits  were  helmed  this  year 
by  Samuel  L  Jackson.  They  are  now 
broadcast  on  the  Independent  Film 


June  2005  I  The  Independent  37 


Channel  and  AMC  and  covered  aggressively  by  tabloids  and 
industry  press  alike.  High  profile  sponsors  have  signed  on,  pre- 
sumably to  take  advantage  of  the  appealing  blend  of  star  power 
and  indie  credibility. 

The  Indie  Spirits  have  been  the  source  of  some  controversy  in 
recent  years.  To  some,  the  nomination  process  appears  frustrat- 
ingly  opaque.  A  committee  of  around  a  dozen  people  selects  can- 
didates in  each  category,  and  then  the  nominees  are  voted  on  by 
the  membership  of  every  IFP  branch.  And  while  there  is  a  special 
slot  for  films  with  a  budget  under  $500,000 — the  John 
Cassavetes  Award — many  have  complained  that  the  Indies  cele- 
brate films  that  have  already  had  plenty  of  attention.  This  year, 
Sideways  swept  the  awards,  and  past  best  picture  winners  have 
included  Lost  In  Translation  (2004),  Far  From  Heaven  (2003),  and 
Crouching  Tiger,  Hidden  Dragon  (2000) — all  films  with  major 
publicity  budgets  that  were  honored  by  the  Academy  as  well. 

"There's  a  lot  more  they  could  do  to  make  sure  that  the 
film  with  the  biggest  budget,  that  spent  the  most  marketing 


-m 

M    9 

mr..   ^'y 

LJi    ^m 

-~        ~    I 

RVJY 

'    I 

1 1  $fj^M 

I 

Ted  Sarandos  of  Netflix  and  Dawn 
Hudson  of  IFP/LA  at  the  IFP  Independent 
Spirit  Awards  Nominee  B6Q  (Randall 
Michelson/Wirelmage.com) 


Cuba  Gooding  Jr.  and  Lee  Daniels  at  the  14th  Annual 
Gotham  Awards  in  New  York  City  (Dimitrios 

Kambouns/Wi  relmage.com) 


dollars,  doesn't  sweep  the  awards,"  says  Rodney  Evans,  a  director 
whose  film,  Brother  to  Brother,  was  nominated  for  Best  First 
Feature  this  year. 

Evans  is  quick  to  add,  though,  that  the  attention  his  film 
received  at  the  Indie  Spirits  this  year  was  a  huge  boost.  "A  small 
film  like  mine  really  does  benefit  from  getting  national  exposure 
on  TV,"  he  says.  "I  didn't  have  the  resources  to  do  national 
advertising." 

The  IFP's  defenders  argue  that  the  good  that  comes  from  all 
the  hoopla  far  outweighs  the  bad.  Cozying  up  to  the  celebrity 
machine  seems  a  small  price  to  pay  for  the  attention  and  money 
that  is  lavished  on  independent  films,  and  IFP  West  has  a  lot 
more  money  to  spend  on  its  programs.  "What  we  were  able  to  do 
for  filmmakers  back  in  1991  is  laughable,"  IFP  executive  director 
Dawn  Hudson  told  Variety  ax  the  time  of  the  2005  Indie  Spirits. 
"We  are  able  to  help  filmmakers  so  much  more  now."  She  point- 
ed out  that  membership  dues  have  stayed  under  Si 00  ($95)  and 
IFP  has  continued  to  offer  numerous  labs,  mentorship  programs, 


equipment  rentals,  and  other  professional  services. 

There  are  critics,  however,  who  feel  that  the  circus  of  the  Indie 
Spirits  is  a  distraction  from  the  IFP's  core  mission,  which  is  to 
serve  independent  filmmakers  who  want  to  work  outside  the 
Hollywood  system.  "In  general,  filmmakers  are  more  aware  of 
organizations  [like  IFP]  because  they  have  gained  such  a 
high  profile,  which  is  great,"  says  Risa  Morimoto,  the  executive 
director  of  Asian  Cinevision.  "Unfortunately,  the  downside  is  that 
sometimes  a  huge  high-profile  event  like  the  Independent  Spirit 
Awards  can  take  away  from  the  other,  smaller  programs  that  help 
to  develop  and  nurture  the  filmmakers  at  the  beginning  stages  of 
their  careers." 

Filmmaker  Jim  McKay,  one  of  Brother  to  Brothers  producers, 
says:  "You  can  only  say  'we're  going  Hollywood  so  we  can  pay  for 
our  good,  smaller  programs'  for  so  long,  until  you're  no  longer 
going  Hollywood,  you've  gone  there  and  the  good  programs  are  just 
a  token.  Hey,  even  the  Bush  administration  puts  money  in  the 
budget  for  a  couple  good  things  that  help  some  people." 

The  other  IFP  branches,  though  they 
see  none  of  the  cash  that  flows  into  IFP 
West,  will  certainly  feel  the  loss  of  their 
association  with  the  Indie  Spirits  and  the 
cachet  of  a  California  counterpart.  IFP 
West  has  most  of  the  organization's  star 
power  and  that  brings  traffic  to  the  website 
and  attention  to  all  the  branches.  "I  think 
a  lot  of  the  members  appreciate  the  feeling 
of  being  part  of  a  larger  organization,"  says 
one  IFP  insider  who  was  unwilling  to  go 
on  record.  "The  most  valuable  stuff  that 
we  do  is  local,  but  people  really  like  voting 
for  the  Indie  Spirits,  and  they  like  the  feel- 
ing that  they  are  part  of  something  with 
an  LA  and  a  New  York  presence." 

And  for  its  part,  IFP  New  York  has 
worked  hard  to  step  up  its  profile  in 
recent  years.  IFP  New  York's  answer  to 
the  Indies,  The  Gotham  Awards,  were  launched  in  1991.  They 
honor  members  of  New  York's  independent  film  community  and 
were  traditionally  held  in  September,  at  the  end  of  the  annual  fea- 
ture film  market.  Last  year,  the  Gothams  moved  to  December, 
the  thick  of  awards  season,  and  IFP  broadened  the  scope  of  the 
awards.  Many  saw  this  as  a  sign  that  New  York  hoped  to  see  the 
Gothams  compete  with  the  Indie  Spirits. 

In  April,  a  new  Producers  Group  was  launched  under  the  IFP 
banner,  made  up  of  more  than  50  representatives  from  many  of 
the  city's  leading  independent  production  companies,  including 
Killer  Films,  This  is  That,  and  Greenstreet.  They  are  many  of  the 
cities  main  players,  and  their  official  association  with  IFP  was  a 
welcome  formalization  of  longstanding  ties.  The  group  has 
launched  a  major  initiative  to  quantify  how  much  independent 
filmmakers  spend  annually  in  New  York  and  to  organize  them- 
selves to  advocate  for  common  causes — from  measures  that  will 
make  shooting  in  the  city  easier  to  the  screener  ban  that  has  caused 
so  much  consternation  in  the  film  community  in  recent  years. 


38  The  Independent  I  June  2005 


No  one  at  IFP  West  would  comment  on  the  reasons  for  the 
possible  secession,  but  many  have  speculated  that  the  group  has 
simply  outgrown  the  old  system  of  allegiances.  LA  may  not 
want  to  defer  to  its  siblings  on  what  direction  the  Indie  Spirits 
should  take  and  they  may  want  to  compete  more  aggressively — 
even  directly — for  scarce  resources.  As  a  separate  entity,  for 
example,  LA  might  be  able  to  further  expand  its  sponsorship 
base  without  having  to  defer  to  New  York  or  Chicago  when  it 
comes  to  sponsors  on  the  East  Coast  or  in  the  Mid- West. 

"This  is  a  problem  that  we  all  have,"  says  the  executive 
director  of  another  service  organization  who  wished  to  remain 
anonymous.  "We're  all  going  after  the  same  pool  of  funders  and 
sponsors." 

IFP  is  not  the  only  organization  at  a  crossroads.  Many  groups 
report  that  they  are  taking  stock  of  the  programs  they  offer  their 
members  and  constituents  and  of  what  the  future  might  hold 
for  advocacy  and  service  organizations.  "I  think  it  gets  down  to 
two  key  things,"  says  Fidelma  McGinn,  the  executive  director  of 


/#"' 
^ 


Michelle  Byrd,  executive  director  of  IFP  New 
York,  at  the  14th  Annual  Gotham  Awards  in  2004 
(Dimitrios  Kambouris/Wirelmage.com) 


Zach  B raff  (Garden  State)  and  Dawn 
Hudson,  executive  director  of  IFP/West  at 
the  20th  Annual  IFP  Independent  Spirit 
Awards  (Jeff  Vespa/Wirelmage.com) 


San  Francisco's  Film  Arts  Foundation.  "We  all  have  the  same 
challenge  of  keeping  ourselves  relevant  to  our  member  base  and 
finding  ways  to  stay  solvent." 

To  some  degree,  these  organizations  are  a  victim  of  the  mete- 
oric rise  of  the  independent  film  industry.  When  the  IFP  was 
founded,  independent  filmmaking  was  still  in  its  infancy, 
though  enthusiasm  was  growing  steadily.  NeWj_ portable  equip- 
ment designed  for  news  and  documentaries  have  made  film- 
making outside  the  studio  system  possible,  and  the  counter  cul- 
ture ethos  of  the  60s  and  70s  fueled  young  filmmakers'  desire  to 
make  both  more  political  and  more  personal  work.  Service 
organizations  found  a  natural  niche  helping  filmmakers  gain 
access  to  expensive  equipment,  offering  workshops  on  tech- 
nique and  practice  and  providing  a  meeting  place  where  people 
could  discuss  their  aesthetic  and  artistic  concerns,  while  con- 
necting with  funders  and  distributors. 

However,  digital  equipment  is  cheap  today  and  almost 
universally  accessible.  The  crucial  information  and  skills  that 


used  to  belong  only  to  experienced  professionals  are  now  largely 
available  to  anyone  with  an  internet  connection. 

"Historically,  the  great  advantage  of  access  centers  is  that  they 
provided  media-making  tools  that  were  largely  inaccessible  because 
they  were  expensive  and  required  a  great  deal  of  training  and 
knowledge,"  says  Charlie  Humphrey,  who  heads  up  Pittsburgh 
Filmmakers,  one  of  the  largest  and  oldest  independent  media  arts 
centers  in  the  country.  "But  now,  the  barriers  to  entry  in  the  media 
arts  are  almost  completely  gone.  What  was  once  a  great  asset  to 
these  centers — namely  equipment  and  knowledge — are  no  longer 
an  asset.  It's  a  funny  paradox,  because  in  many  ways  what  has 
occurred  is  precisely  what  we  have  wanted  for  many  years,  which 
is  the  democratization  of  media,  the  tools,  the  access,  everything. 
But  here  we  stand  with  our  arms  akimbo  saying  now  what?" 

Service  groups  have  had  to  refocus  their  energies  on  their  value 
as  a  site  for  networking  and  as  educational  and  advocacy  organi- 
zations. "We  still  have  to  do  what  we've  always  done  best  which  is 
to  trade  in  the  currency  of  knowledge,"  Humphrey  says.  "We 
have  to  continue  to  make  the  case  that 
media  literacy  is   really  cultural  literacy 
and  that  just  because  you  can  learn  how  to 
wave  a  mouse  doesn't  necessarily  mean 
that  you  know  how  to  make  good  media." 
Many  leaders  of  service  organizations 
agree  that  one  benefit  they  can  continue 
to  provide  for  their  members  is  a  venue  for 
showing  new  work.  Despite  the  enormous 
popularity  of  independent  films  in  recent 
years,    most    movies    never    reach    an 
audience.   Filmmakers  who  continue  to 
work  at  the  lowest  end  of  the  spectrum 
struggle  for  exposure,  and  groups  like  IFP 
can    do    enormous    good    by    regularly 
screening  their  work. 

Whatever  the  future  of  IFP  West,  the 
changes  afoot  are  symptomatic  of  some- 
thing the  whole  industry  must  come  to 
grips  with.  Independent  filmmakers  are  no  longer  outsiders,  and 
their  work  is  not  being  ignored.  Many  indies  have  the  budgets 
and  profit  margins  of  studio  vehicles.  There  are  countless  pro- 
duction companies  devoted  to  making  these  films,  and  film 
schools  are  churning  out  more  eager  graduates  every  year.  Will 
groups  like  the  IFP  cater  increasingly  to  this  high  profile  group  or 
will  they  remain  committed  to  the  lowliest  filmmakers,  the  mav- 
ericks who  make  $5,000  films  funded  entirely  on  credit  card 
debt?  Do  they  even  have  to  choose? 

Perhaps  in  the  near  future  there  can  be  a  group  where  everyone 
finds  a  home.  & 


Just  before  this  magazine  went  to  press,  IFP/LA  announced  that  it 
had  in  fact  decided  to  break  from  the  five  other  IFP  branches,  and 
will  now  operate  under  the  new  name  of  Film  Independent  (FIND). 
The  five  other  branches  are  expected  to  stay  unified. 


June  2005  I  The  Independent    39 


BY  NICK  SCHAGER 


"Get  on  the  ground,  motherfuckers,"  declares  Wayne  Coyne, 
directing  two  somewhat  confused  kids  to  lie  on  their  chests  in 
the  dingy  kitchen  of  a  Vietnamese  noodle  bar. 

The  lead  singer  for  psychedelic  post-punk  rock  band  The 
Flaming  Lips,  Coyne  isn't  perpetrating  a  hold-up  but  is  reenact- 
ing  a  1977  gunpoint  robber)'  he  experienced  while  employed  at 
the  eatery — which,  at  the  time,  had  been  a  Long  John  Silver's 
fast  food  restaurant  where  he  worked  as  a  $60-a-week  fry  cook 
(and  where,  because  of  his  12-year  tenure,  he  earned  a  diamond 
pin  for  long  service).  With  lively  good  humor  and  a  trace  of 
mischievousness,  Coyne  races  through  the  back  room,  pointing 
out  the  entry  and  exit  routes  used  by  the  daring  daylight  crooks 
while  remembering  how  close  he  had  once  come  to  being  a  sta- 
tistic. "I  just  thought,  'My  god,  this  is  really  how  you  die,"  he 
says.  "One  minute  you're  just  cooking  up  someone's  order  of 
french  fries,  and  the  next  minute  you're  laying  on  the  floor  and 
they  blow  your  brains  out.  And  there's  no  music,  there's  no  sig- 
nificance— it's  just  random." 

Beautifully  capturing  the  essence  of  The  Flaming  Lips  and 


their  wonderfully  weird  music — unpredictable,  eccentric, 
slightly  insane,  and  laced  with  equal  measures  of  joy  and  sor- 
row— this  early  scene  is  the  highlight  of  Bradley  Beesley's  The 
Fearless  Freaks,  a  sterling  documentary  about  the  life  and  times 
of  the  Oklahoma-bred  band.  As  Coyne  later  recalls  during  a 
phone  conversation  from  his  Oklahoma  City  home,  the  near- 
death  experience  wound  up  being  a  formative  catalyst  for  his 
subsequent  career  as  the  frontman  for  one  of  America's  most 
unique  and  idiosyncratic  rock  and  roll  outfits. 

"Immediately  after  it  happened,  you  get  this  sense  that  you've 
been  given  a  whole  new  life,  and  now  you  can  do  whatever  you 
want,"  he  says,  describing  how  the  area  had  been  plagued  by  fast 
food  restaurant  murders  and  that  it  therefore  wouldn't  have 
been  uncommon  to  be  killed  while  deep  frying  chicken.  "For 
the  next  couple  of  weeks,  [I  had]  the  idea  that,  why  not  do  what 
you  want  to  do?  What's  the  worst  that  can  happen?  That  you  get 
humiliated  and  people  make  fun  of  you?  I  was  like,  I  can  han- 
dle that.  I  just  had  a  gun  shoved  up  to  my  temple  by  these 


40  The  Independent  I  June  2005 


What  a  Long,  Freaky 

Head-  Trip 

It's  Been 

BRADLEY  BEESLEY'S  THE  FEARLESS 

FREAKS 


y  iv 


-•im 


FLAMING  LIPS 


THF  FFARLE55 


pissed-off  robbers.  If  people  laugh  at  me,  I  don't  care." 

Such  a  go-for-broke,  devil-may-care  spirit  of  adventurousness 
is  indicative  of  not  only  The  Flaming  Lips — whose  eclectic  cat- 
alog spans  from  1 986s  Here  It  Is  to  2002's  Yoshimi  Battles  the 
Pink  Robots,  including  the  unique  1997  four-CD  album 
Zaireeka  that  required  fans  to  listen  to  all  lour  discs  concurrent- 
ly— but  also  Beesley  s  fascinating  new  documentary,  which  pre- 
miered at  this  year's  South  by  Southwest  Festival  and  made  its 
DVD  debut  last  month  through  Shout!  Factory  releases. 
Overflowing  with  behind-the-scenes  footage  and  forthright 
interviews  with  the  band,  which  also  includes  bassist  Michael 


Ivins  and  drummer/instrumentalist  Steven  Drozd,  the  film  is  a 
kaleidoscopic  pastiche  ol  candid  conversations  and  surprising 
confessions  that  chart  the  band's  22-year  evolution  from  small- 
town novelty  act  (originally  Ironted  by  Wayne's  brother  Mark  in 
1983)  to  one-hit  wonder  (with  1994's  MTV  hit  "She  Don't  Use 
Jelly")  to  2003  Grammy  award-winners  (for  Best  Rock 
Instrumental  Performance).  A  loving  portrait  made  from  the 
inside  out,  it's  a  funny  and  touching  rock  doc  more  interested 
in  its  subjects'  personal  stories  than  with  regurgitating  concert 
lootage  and  music  videos,  imbued  with  an  intimacy  rarely 
found  in  a  genre  all-too-often  dominated  by  shallow,  exploita- 
tive "Behind  the  Music  "-style  fluff. 

Beesley,  a  documentarian  from  Austin,  Texas,  cut  his  film- 
making teeth  working  with  the  Lips  in  1992  as  a  student  at  the 
University  of  Oklahoma,  where  he  attended  the  same  art  school 
as  Coyne's  then-girlfriend  (and  now  wife)  Michelle.  "I  hap- 
pened to  be  the  guy  who  owned  a  motion  picture  film  camera 
instead  of  a  video  camera,  and  Wayne  was  the  guy  in  town  who 
had  enough  money  to  shoot  motion  picture  film,  so  I  sort  of 
spent  my  college  years  experimenting  with  Wayne  on  the 
[band's]  music  videos,"  he  says.  Not  content  with  merely  work- 
ing on  these  low-budget  videos,  Beesley,  whose  interest  always 
strayed  toward  experimental  cinema  verite  filmmaking,  would 
shoot  everything  and  anything  he  could  while  around  the  band: 
downtime  in  the  studio  and  on  the  band's  video  sets,  Coyne 
family  parties,  backstage  tour  shenanigans,  and  random  cine- 
matographic tests  with  Coyne  that  included  putting  Christmas 
lights  inside  the  camera  ("To  see  if  we  could  get  some  weird  lens 
flare  flicker  effect")   and  squirting  bleach  on  the  film  itself. 


June  2005  I  The  Independent  41 


Beesley  and  the  Lips'  relationship  flourished  thanks  in  part  to 
their  shared  interest  in  out-there  audaciousness.  "We  fueled 
each  other's  fire,"  Beesley  says.  In  agreement,  Coyne  says,  "He's 
always  doing  something  interesting,  and  I'm  always  needing 
help.  So  it  works  out  good." 

In  1999,  Beesley,  realizing  he  had  accumulated  roughly  400 
hours  of  unused  footage,  put  together  a  45-minute  short  film 
entitled  The  Flaming  Lips  Have  Landed  that  played  at  SXSW  in 
2000,  and  shortly  thereafter  decided  that  he  had  enough  mate- 
rial for  a  feature  film.  He  set  about  conducting  interviews  with 
the  band,  former  members,  and  admirers  (including  Liz  Phair, 
The  White  Stripes'  Jack  White,  and  The  Butthole  Surfers'  Gilby 
Clarke),  while  also  looking  into  bizarre  stories  from  Coyne  and 
Drozd's  pasts  (such  as  the  Long  John  Silver  scene)  that  he'd  long 
wanted  to  investigate.  Because  of  Beesley's  regular  attendance  at 
holiday  gatherings,  as  well  as  his  collaboration  with  Coyne  (as 
director  of  photography)  on  projects  such  as  the  singer's  direc- 
torial debut,  Christmas  on  Mars — an  independent  film  about 
the  red  planet's  first  yuletide  celebration  starring  the  Lips  which, 
as  of  this  article's  writing,  is  still  being  shot  in  the  singer's  back- 
yard— the  band's  relatives  were  familiar  with  his  tendency  to 
regularly  show  up  in  the  neighborhood  with  a  film  camera.  So 
he  had  little  trouble  convincing  Coyne's  mother,  his  brothers 
Tommy  and  Kenny,  and  Drozd's  brother  James  to  participate. 
James,  the  day  after  being  released  from  prison,  joined  in  an 
impromptu  jam  session  alongside  his  brother  Steven  and  his 
saxophone-playing  father  Vernon. 

Beesley's  explanation  for  focusing  less  on  concert  clips  and 
more  on  the  band  members'  peculiar  backstories  and  amusing 
anecdotes — including  the  story  behind  Coyne's  penchant  for 
performing  with  a  bloody  forehead  (it  involves  an  inspirational 
Miles  Davis  photo)  and  his  methodical  technique  for  cleaning 
said  blood  off  his  trademark  white  suits — is  simple.  "There's 
only  so  much  live  footage  and  so  many  music  videos  people  can 
take,"  he  says.  Of  particular  interest  to  Beesley  was  the  fact  that 
the  down-to-earth  Coyne  still  lives  among  crack  dealers  and 
prostitutes  in  the  dilapidated  Oklahoma  City  ghetto  in  which 
he  grew  up,  residing  with  his  wife  and  dogs  mere  miles  away 
from  his  relatives.  "I  thought  it  was  more  important  to  the  story 
that  this  guy  could  have  gone  to  LA  or  New  York  like  everybody 
else,  but  he  stayed  in  the  same  neighborhood  he  grew  up  in,  and 
continues  to  live  there,"  he  says.  The  director's  interest  in  the 
Lips'  strange  childhoods  was  further  bolstered  by  the  discovery 
that  Coyne's  brother  Kenny  possessed  countless  hours  of  Super 
8  home  movies  of  the  family's  football  games  (their  team's  name, 
The  Fearless  Freaks,  gives  Beesley's  doc  its  title),  as  well  as  by 
hearing  stories  about  the  singer's  wild  youthful  exploits.  One 
such  tale  cut  from  the  final  film  depicts  a  12-year-old  Coyne 
taking  off  to  California  on  the  back  of  a  motorcycle  with  his 
brothers,  only  to  realize  he's  forgotten  to  bring  shoes  along  for 
the  trip. 

Coyne  admits  that  if  another  filmmaker  had  approached  him 
with  plans  for  such  a  probing  documentary  he  probably  would 
have  bristled  at  the  idea.  However,  his  relationship  with  Beesley, 
as  well  as  his  faith  in  the  filmmaker's  abilities,  gave  him  no  rea- 


Wayne  Coyne  performing  with  The  Flaming  Lips  (Shout!  Factory) 


son  to  object  to  the  project.  "You  build  a  kind  of  honesty  and 
an  ego-less  partnership"  after  years  of  working  together,  says 
Coyne.  "And  Bradley  really  does  have  a  knack  for  finding  that 
universal  human  story  within  the  context  of  all  this  stuff  that 
you  think  should  be  exciting."  Stuff,  presumably,  like  the  Lips' 
carnivalesque  live  shows,  which  feature  Coyne  using  fake  blood 
to  simulate  head  wounds,  naked  female  dancers,  musicians  in 
furry  animal  costumes,  and  the  singer  "walking"  on  the  crowd 
inside  a  giant  translucent  bubble.  "It's  the  things  that  he  thinks 
are  funny  and  poignant,  that's  the  part  that  I  really  trust,"  he 
says.  Given  Beesley's  prior  focus  on  small,  character-driven  sto- 
ries in  2000's  Hill  Stomp  Hollar  and  200  Is  Okie  Noodling  (both 
of  which  feature  music  by  The  Flaming  Lips),  Coyne  was  sure 
that  the  filmmaker's  interest  in  making  The  Fearless  Freaks  had 
less  to  do  with  the  band's  recent  surge  in  popularity  over  the 
past  half-decade  than  with  his  continued  fascination  with  weird, 
colorful  people.  "I  knew  that  Bradley  would  make  a  film  that 
made  us  look  far  better  than  we  really  are,"  he  says.  "And  he 
would  have  it  [focus  on]  the  human  element,  not  that  we're  rock 
stars  and  that  we  make  a  lot  of  money." 

The  Lips'  trust  in  Beesley  is  most  clearly  felt  in  a  stunning 
third-act  showstopper  shot  in  2001  in  which  Drozd,  a  serious 
heroin  addict  during  the  previous  six  years,  walks  Beesley 
through  the  process  of  shooting  up  while  lucidly  detailing  his 
path  to  junkiedom.  Shot  in  stark  black-and-white  close-ups  that 
convey  a  sense  of  palpable  immediacy — a  stylistic  choice 
Beesley  admits  was  largely  due  to  good  luck:  "I  think  it  was  just 
because  I  had  black-and-white  film  stock  in  the  fridge  left  over 
from  Wayne" — the  scene  came  about  after  Drozd,  who  had 
recently  sold  his  car  for  a  paltry  couple  of  hundred  dollars, 
repeatedly  called  the  filmmaker  trying  to  borrow  cash  for  drugs. 
"I  was  like,  'All  right,  I'll  give  you  S50,  but  you  have  to  let  me 


42  The  Independent  I  June  2005 


film  you  shooting  up,'"  Beesley  says.  '"And  not  only  do  you 
have  to  do  that,  but  you  have  to  talk  about  where  you  re  at  right 
now,  how  you  got  there,  why  you're  there,  and  really  think 
about  this  stuff  as  you're  telling  me.'" 

The  resulting  scene  finds  Drozd  candidly,  and  harrowingly, 
expounding  on  his  first  foray  into  mainlining  heroin,  the  phys- 
ical sensation  of  a  smack  high,  and  the  terrible  cost  of  his  addic- 
tion (his  girlfriend  had  just  left  him  at  the  time  of  the  film- 
ing)— all  as  he  struggles  to  find  a  viable  vein  to  inject.  Yet 
despite  the  moment  being  intensely  personal  and  private, 
Beesley  felt  that,  considering  Drozd's  subsequent  ability  to  kick 
his  habit,  the  scene  had  to  make  the  film's  final  cut.  "That  was 
probably  the  second  to  last  time  he  shot  up,  so  I'm  proud  to 
have  captured  it,"  he  says.  "Knowing  that  he's  been  clean  since 
2001  when  we  shot  that,  I  think  it  made  everyone  feel  good 
about  the  story,  to  have  some  closure.  And  it  would  be  remiss  of 
me  not  to  [include  it],  since  it  was  such  a  huge  part  of  their  his- 
tory for  six  years — this  genius  musician  on  heroin — and  had 
such  a  profound  effect  on  the  band." 

Coyne  remembers  Drozd's  drug  use  becoming  so  severe  that 
"there'd  be  times  when  I  thought  he  was  probably  never  going 
to  get  over  this,  and  he'll  be  a  toothless  old  man  that  won't  have 
anything  to  show  for  all  this  great  music  he's  been  able  to  cre- 
ate." With  Drozd  now  sober,  however,  Coyne  admits  he  doesn't 
even  think  about  such  dire  possibilities,  and  the  enthusiastic 
reaction  to  the  scene  at  the  packed  SXSW  premiere — which 
Coyne  says  was  an  "awesome"  experience  in  which  he  became 
caught  up  in  the  moviegoing  audience's  excitement — simply 
reconfirmed  his  initial  feeling  that  the  scene  was  a  necessary 
component  of  Beesley 's  cinematic  biography.  "Our  story  really 
is  a  wonderful,  wonderful  story,"  Coyne  says.  "It's  not  without 
its  hard  moments,  and  I'm  sure  we'll  have  more  to  come.  And  I 
can  tell  people  this  is  the  absolute  truth.  This  isn't  some  exag- 
geration that  people  are  trying  to  look  cool  by.  I'm  here  to  tell 
you,  this  is  a  real  guy  and  these  are  real  drugs  and  this  is  a  real 
story.  We're  living  proof  that,  as  bad  as  it  can  be,  it's  also  as  good 
as  it  can  turn  out." 

Such  unvarnished  honesty,  in  fact,  is  perhaps  the  overriding 
sense  one  gets  from  The  Fearless  Freaks,  which  may  craft  its  own 
version  of  The  Flaming  Lips  story  but  is  nonetheless  imbued 
with  an  unblinking  candor  and  authenticity  similar  to  that 
found  in  the  Lips'  emotionally  charged  music.  It's  an  impression 
Coyne — a  rock  and  roll  star  who  comes  across  throughout  the 
film  (as  well  as  during  interviews)  as  simultaneously  larger-than- 
life  and  imminently  approachable — is  eager  to  promote. 
Returning  to  a  discussion  of  his  life-affirming  run-in  with  mor- 
tality at  Long  John  Silver's,  Coyne  says  he  thinks  "mostly  what 
people  fear  is  that  other  people  won't  understand  them.  And  I 
just  know  if  you  tell  the  absolute  truth  and  just  don't  let  there 
be  any  options  [as  to  what's  real  and  what's  fictional],  people 
will  relate  to  you.  We  don't  want  people  to  think  that  some  PR 
firm  has  gotten  together  with  us  and  told  us,  'This  is  the  best 
story  to  tell.'  I  want  to  be  believed.  I  want  people  to  trust  me." 
Thanks  to  Beesley's  affectionate,  illuminating,  and  persuasive 
documentary,  Coyne  has  nothing  to  worry  about.  •& 


Band  members  Wayne,  Richard,  Mark,  and  Michael 
(J.  Michelle  Martin-Coyne) 


Beesley  with  Coyne:  Filming  Christmas  on  Mars 
(Shout!  Factory) 


Flaming  Lips:  Michael,  Wayne,  and  Nathan 
(J.  Michelle  Martin-Coyne) 


June  2005  I  The  Independent    43 


Portlands 

Creative  Class 

Behind  the  Scenes  at  PDX 


BY  BRIAN  LIBBY 

Matt  McCormick  bristles  a  little  when  he  hears 
someone  mention  that  this  is  the  third  year  of 
the  Portland  Documentary  and  Experimental 
Film  Festival  (PDX).  For  McCormick,  festival 
curator  and  a  well-regarded  filmmaker,  the  PDX  Fest  stretches 
back  to  1996,  when  his  Peripheral  Produce  screening  series 
debuted  in  local  punk  rock  clubs  and  industrial  warehouses — 
when  contemporary  filmmakers  like  Miranda  July,  whose  film 
Me  and  You  and  Everyone  We  Know  won  a  Special  Jury  Prize  at 
Sundance  this  year,  and  Sam  Green,  whose  documentary  The 
Weather  Underground  was  nominated  last  year  for  an  Academy 
Award, 'y^ceived  some  of  their  first  exposure.  Today,  Peripheral 
Produce  is  Comprised  not  only  of  the  PDX  Festival,  but  also  a 
thriving  distritHition  company  for  experimental  film  and  video 
on  DVD. 

The  PDX  Fest  has,  become  an  internationally  recognized 
mid-tier  festival,  which  was  held  in  April  at  the  Guild  Theatre 
in  Portland,  Oregon  and  included  about  88  different  film  and 
video  shorts  and  features.  And  with  Peripheral  Produce  the 
organization,  helped  galvanize  the  grassroots,  do-it-yourself  cul- 
ture once  restricted  to  music  but  with  the  rise  of  affordable 
video  production  equipment  in  recent  years,  has  extended  to 
the  screen.  "You  can't  go  three  weeks  in  Portland  without  there 
being  some  kind  of  [film]  festival,"  McCormick  says,  noting 
that  locally,  PDX  follows  the  Portland  International  Film 
Festival,  the  Portland  Jewish  Film  Festival,  and  the  Longbaugh 
Film  Festival  offered  by  local  alternative  paper  Willamette  Week. 
"l^hink 
happem? 

When  hes  not 
tion  side  of  Peripheral- "Fro 
maker^  has- screened  at  many  festivSaflk^SPing  Sundance, 
Rotterdam,  the  New  York  Underground,  and  the  New  York 
Film  Festival.  His  most  recent  films.    The  Subconscious  Art  of 


rtist  Adil  Hoxur  in 
e  Sky,  which  screened  at  PDX 
(Deborah  Stratman) 


44  The  Independent  I  June  2005 


Scott  Coleman  Miller's  Usto  Justo  was  one  of  the  festival's  experimental  shorts 


Graffiti  Removal  (2002),  and  Toudines  (2005),  have  particularly 
found  favor  while  touring  around  the  world.  When  Peripheral 
Produce  began,  McCormick  was  able  to  curate  screening  events 
largely  because  he  was  able  to  approach  filmmakers  as  a  peer. 
And  indeed,  before  Miranda  July  and  other  celebrated  local 
artists  like  Vanessa  Renwick  were  Peripheral  Produce  regulars, 
there  were  a  whole  host  of  artists  whom  McCormick  befriend- 
ed while  touring  with  his  own  work. 

Unlike  a  previous  generation  of  experimental  filmmakers 
who  came  of  age  during  the  60s  and  on  through  the  80s, 
McCormick  is,  while  not  out  to  make  a  buck  per  se,  neverthe- 
less more  open  to  the  notion  that  being  a  small  businessperson 
and  a  respected  artist  need  not  be  mutually  exclusive.  In  fact,  he 


says,  running  Peripheral  Produce  as  a  company  unbound  to 
government  or  foundation  grants  means  all  the  more  independ- 
ence to  run  his  art  and  his  institution  the  way  he  wants. 

Certainly  the  spread  of  DIY  punk  rock  ethic  to  filmmaking 
and  its  corresponding  microcinemas  is  happening  on  some  level 
in  virtually  every  American  metropolis.  Cities  like  Austin, 
Baltimore,  and  Chicago  all  have  particularly  healthy  film  com- 
munities. But  things  seem  to  have  particularly  crystallized  in  the 
Rose  City  because  of  its  high  ratio  of  what  is  now  commonly 
referred  to  as  the  "creative  class" — a  phrase  that  originated  with 
the  2002  Richard  Florida  book,  The  Rise  of  the  Creative  Class. 

With  its  picturesque  natural  surroundings,  its  place  on  the 
West  Coast  (the  natural  end  to  many  a  migration,  be  it  200 


June  2005  I  The  Independent  45 


Matt  McCormick  is  festival  curator  and  a  well-regarded 
filmmaker  (courtesy  of  Matt  McCormick) 


John  Hawkes  and  Miranda  July  (who  first  screened  her 
work  at  the  Peripheral  Produce  series)  in  Me  and  You  and 
Everyone  WeKnow(\fC  Films) 


years  ago  in  a  covered  wagon  or  today  after  the  college  spring 
semester  ends),  and  its  relative  affordability  compared  to  Seattle 
or  San  Francisco,  Portland  is  home  to  countless  20-somethings 
with  an  eagerness  to  explore  and  ultimately  prove  their  artistic 
mettle  without  compromising  the  integrity  they  see  lost  all 
around  them  amid  a  hugely  omnipresent  commercial  media 
culture. 

"People  come  to  Portland  to  drop  out  but  keep  a  hand  in," 
says  Shawn  Levy,  film  critic  for  the  Oregonian  daily  newspaper. 
"To  do  stuff  that  would  be  notable  in  most  any  city  in  the  world 
but  on  a  more  homemade,  personal  level.  To  be  engaged  in  their 
work  but  not  invested  in  the  business  of  it.  Peripheral  Produce 
is  that  vibe  in  a  nutshell." 

Deborah  Stratman,  whose  film  The  Great  Art  of  Unknowing 
screened  at  this  year's  fest,  says:  "McCormick  and  Peripheral 
Produce  have  faith  in  the  intelligence  and  curiosity  of  their 
audiences.  They  don't  see  any  reason  why  independent  films 
can't  be  as  widely  collected  as  independent  music.  I  think  Matt 
distributes  and  tours  with  that  goal  in  mind.. .a  world  where 
people's  video  collections  begin  to  rival  their  CD  collections. 
And  I  really  admire  the  ways  that  they  chip  away  at  dispelling 


the  myth  of  'marginal'  work.  To  me,  all  of  the  films  they  pro- 
gram [at  PDX  Fest]  are  conduits  to  the  complicated,  seamy  cen- 
ter of  the  contemporary  socio-cultural  Zeitgeist.  This  is  work  at 
the  fulcrum,  not  on  the  margins." 

McCormick — who  mines  the  industrial  enclaves  of  urban 
America  to  find  surprisingly  poetic  vistas — and  Peripheral 
Produce  label-mate  Bill  Brown — whose  travelogues  contem- 
plate history,  politics,  geography,  and  art  with  wit  and  unpre- 
tentious wisdom — ensure  that  many  of  the  works  collected  on 
their  videos  and  programmed  at  PDX  appeal  to  a  widespread 
audience.  Too  often  people  assume  that  because  it  does  not 
rigidly  adhere  to  the  narrow  classification  of  traditional  narra- 
tive dramatic  storytelling,  experimental  film  is  never  to  be 
understood,  let  alone  beloved,  by  large  audiences.  But  that  sim- 
ply is  not  the  case. 

"Experimental  has  always  been  a  tricky  term,"  says  filmmak- 
er David  Gatten  from  Ithaca,  New  York.  "Avant  garde,  under- 
ground, alternative,  personal,  and  experimental  are  all  names 
given  to  a  pretty  diverse  body  of  work.  One  of  the  things  that 
I  think  PDX  is  always  noteworthy  for  is  the  way  they  bring 
together  all  of  these  threads,  showcasing  really  diverse  kinds  of 
experimental  media  side  by  side." 

Stratman  says:  "People  say  experimental  film  is  undergoing  a 
renaissance.  But  I  think  the  whole  universe  of  what  we  call  exper- 
imental film  is  itself  a  continual  renaissance.  That's  what  experi- 
mental film  is  to  me:  a  constant  upheaval  of  cultural  sedimenta- 
tion. A  continual  turning  over  and  reinventing  and  poking  into." 

And,  of  course,  there  was  experimental  and  underground  work 
happening  long  before  Peripheral  Produce  came  out — filmmak- 
ers like  Maya  Deren  and  Kenneth  Anger  were  pioneers  in  the 
genre.  But  the  difference  between  then  and  now  is  today's  distri- 
bution opportunities  and  the  chance  for  the  work  to  be  seen  and 
obtained  much  more  easily.  Neither  Deren  nor  Anger  ever  had 
the  advantage  of  a  company  like  Netflix,  for  example.  And  maybe 
they  wouldn't  have  wanted  that.  Until  the  mid-1990s,  most  of  the 
significant  underground  work  was  made  on  actual  celluloid  film. 
And  to  an  extent,  that  continues  to  be  the  case  today.  But  more 
crucial  is  the  fact  that  regardless  of  its  original  format,  most  of  the 
films  were  not  available  on  video  for  sales  and  distribution.  Even 
today  there  are  filmmakers  who  refuse  to  have  their  films  trans- 
ferred to  video,  particularly  more  academic  and  avant-garde 
artists  like  Peter  Hutton  and  David  Gatten,  both  of  whose  work 
has  played  at  PDX  but  who  will  almost  certainly  never  find  a 
wider  audience  without  video  or  digital  duplication.  It  is  all  but  a 
moral  imperative  for  these  artists  that  the  adherence  to  celluloid- 
only  projection  be  maintained.  Otherwise,  they  believe,  the  work 
itself  would  be  irrevocably  compromised. 

Peripheral  Produce,  however,  represents  a  more  pragmatic  con- 
stituency. Last  year  alone  the  company  sold  over  4,000  copies  of 
various  VHS  and  DVD  units.  Artists  on  Peripheral  Produce's  dis- 
tribution label  include — in  addition  to  McCormick,  Brown,  July, 
and  Renwick — Brian  Frye,  Naomi  Uman,  Animal  Charm,  Bryan 
Boyce,  and  Negativland.  In  many  cases,  their  work  was  created  on 
video  and  therefore  isn't  subject  to  the  dilemma  of  whether  a 
transfer  of  video  compromises  artistic  integrity. 


46  The  Independent  I  June  2005 


POPaganda:  The  Art&  Subversion  of  Ron  English,  screened  at  the  opening  night  of  the  festival  (Ron  English) 


But  Renwick,  considered  a  maverick  in  Portland  for  her 
iconoclastic,  very  personal  works  that  are  mostly  shot  on  film 
and  transferred  for  distribution  by  Peripheral  Produce,  doesn't 
see  the  downside. 

"Having  Matt  put  out  my  work  has  been  great  for  me," 
Renwick  says.  "It  gave  me  this  product  to  sell  at  my  shows  that 
I  didn't  have  before."  And  when  you're  an  underground  artist 
scratching  and  clawing  to  make  a  living,  she  says,  that  can  be 
the  difference  between  surviving  and  having  to  give  up  your 
dreams  and  take  a  day  job.  "It  really  gave  me  some  more  expo- 
sure," Renwick  says.  "Those  videos  have  gotten  around."  Even 
though  she  tours  all  over  the  country,  Renwick  says  many  peo- 
ple are  familiar  with  her  work  through  seeing  it  on  video. 

There  is  probably  no  better  representation  of  the  overall 
engaging  spirit  of  the  PDX  Fest  and  the  unique  perspective  of 
Peripheral  Produce  than  its  marquee  event,  the  Peripheral 
Produce  Invitationals.  Billed  cheekily  as  the  "world  champi- 
onship of  experimental  cinema,"  the  Invitationals  are  a  one- 
night  screening  of  about  20  films,  with  all  the  competing 
artists  in  attendance  and  an  audience  vote  for  the  winner  at  the 
end.  Serious  competition  is  not  the  predominant  vibe,  but 
rather  camaraderie  both  between  the  artists  and  with  their 
audience. 

Renwick,  who  won  the  first  annual  Invitationals,  says  the 
experience  remains  one  of  her  favorite  memories  as  a  film- 
maker. "There  were  a  lot  of  people  from  out  of  town,  and  we 


got  to  meet  artists  who  we  had  only  seen  their  work  before,"  she 
recalls.  "I  have  lots  of  friends  around  the  country  now  that  I  first 
got  to  know  from  that  show." 

Last  year's  Invitationals  have  become  the  stuff  of  legend  in 
Portland,  with  the  audience  most  delighted  not  by  a  traditional 
film  or  video,  but  Viewmasters — handmade  circular  slideshow 
cards  courtesy  of  a  local  artist  named  Vladimir.  At  last  year's 
Invitationals,  Vladimir  passed  out  her  personal  collection  of 
Viewmasters  to  the  audience  (they  had  to  be  returned)  and  then 
led  them  through  a  reading  of  one  of  her  slideshows  (about  a 
cockroach),  complete  with  the  traditional  bell-ringing  sound  for 
when  it  was  time  to  click  the  next  image  into  view. 

"At  one  moment  during  the  show,"  The  Oregoniaris  Levy 
recalls,  "I  looked  around  the  theater  and  there  were  380 
Portland  hipsters,  as  jaded  and  cynical  a  lot  as  you'd  find,  star- 
ing into  their  Viewmasters  like  little  kids  with  big,  unrehearsed 
grins  on  their  faces." 

There  will  always  be  those  in  the  underground  film  commu- 
nity who  resist  the  more  populist  experimental  strain  at  the 
PDX  Fest.  Yet  this  is  a  festival  run  for  the  right  reasons,  behind 
the  scenes,  and  year-round.  And  while  the  quality  at  any  festival 
can  vary  greatly  from  film  to  film,  the  PDX  Fest — whether 
considered  in  its  third  or  ninth  year — and  Peripheral  Produce, 
passionately  and  faithfully  represent  an  admirable  breadth  of 
experimental  film,  it 


June  2005  I  The  Independent  47 


BY  FIONA  NG 


To  most  people,  Jeff  Skoll  is  the  eBay  guy.  He  was  the 
first  employee  and  first  president  of  the  online  auction 
behemoth.  With  over  $4  billion  worth  of  eBay  stock, 
he  was  named  the  third  richest  man  under  40  in  the 
country  by  Fortune  magazine  in  2004.  What  most  people  don't 
know  about  Skoll  is  that  he  is  also  a  committed  do-gooder.  In 
1999,  he  founded  The  Skoll  Foundation,  which  champions  and 
invests  in  people  who  create  positive  changes  in  the  world.  Now, 
this  well-heeled  philanthropist  is  extending  his  humanitarianism 
to  what  some  might  consider  the  least  conscientious,  most  bot- 
tom-line conscious  of  all  industries:  Hollywood. 

Skoll  started  Participant  Productions,  a  production  company 
based  in  Los  Angeles,  in  January  2004.  The  thing  that  separates 
Participant  from  other  film  outfits  its  social  mandate:  to  make 
films  and  documentaries  addressing  societal  injustices  that  are  as 
thoughtful  in  content  as  they  are  boffo  in  box  office.  Successful 
examples  the  company  is  fond  of  citing  include  blockbusters  Erin 


An  eBay- 

billionaire 

believes 

humanist 

films  can  sell 


48  The  Independent  I  June  2005 


Brockovich  (2000),  Gandhi  (1982),  and  Schindler's  List  (1993). 
The  plan  is  to  generate  four  to  six  films  a  year,  with  a  budget 
between  $5—40  million  each.  Unlike  other  production  compa- 
nies, Participant  will  both  co-finance  and  manage  the  produc- 
tions of  these  projects. 

Idealism  aside,  Skoll,  the  company's  CEO,  knows  that  he's  still 
new  to  the  business  of  entertainment.  "The  movie  business  is 
entirely  different  [from  other  businesses],"  Skoll  says.  "It  is  a  very, 
very  relationship-driven  business,  and  it's  pretty  vital  to  be  able  to 
know  people,  interact  with  them,  spend  time  with  them,  and 
really  be  part  of  the  social  network."  (Following  his  own  advice, 
Skoll  has  been  upping  his  profile  in  the  film  world — jurying  for 
the  documentary  feature  competition  at  last  year's  Tribeca,  and,  in 
keeping  with  Participant's  mission,  presenting  Gandhi  to  a 
Palestinian  audience  in  Ramallah  in  April.)  Mindful  of  the  indus- 
try's culture  and  the  company's  particular  concerns,  Skoll  has 
assembled  a  team  of  players  from  Hollywood  and  beyond,  includ- 
ing Jeff  Ivers  from  MGM  and  the  Motion  Picture  Corporation  of 
America,   erstwhile   dot-comer   Chris   Adams,    previously  with 


Lycos  and  Amazon.com,  former  for-profit  and  nonprofit  man- 
agement consultant  Joanne  Wilson,  and  Ricky  Strauss,  a 
Hollywood  veteran  who  was  anointed  president  of  the  company 
in  March. 

Bringing  to  Participant  his  experience  as  an  independent  pro- 
ducer for  Sony,  Strauss  foresees  distribution  as  presenting  the 
biggest  challenge.  "We  are  a  brand  new  company,  and  we  are 
doing  something  no  one  else  has  otherwise  done  before,"  Strauss 
says.  "For  most  mainstream  Hollywood  theatrical  distributors 
these  are  the  harder  movies  to  make  money  on.  They  present 
marketing  challenges.  They  are  not  as  popular  on  a  studio  slate. 
So  [we  thought]  finding  great  material  would  somehow  be  easier 
than  finding  distributors  to  satisfy  that  appetite." 

So  far,  finding  distributors  has  been  nearly  effortless  for  the 
company,  given  its  slate  of  aspirant  blockbusters  and  choice  part- 
nerships with  major  studios  and  Indiewood  outfits.  Last  year, 
Participant  bought  all  the  rights  to  Arna's  Children,  a  documen- 
tary about  a  Palestinian  activist  who  opened  a  theater  group  for 
kids  in  a  refugee  camp,  and  released  it  in  October  with 
THINKFilm.  Also  last  year,  Participant  and  Warner  Bros, 
announced  a  three-picture  co-financing  deal.  The  first  project 
Syriana,  a  spy  thriller  about  the  international  oil  trade  and  the 
Middle  East  (written  by  Traffic  scribe  Stephen  Gaghan,  produced 
by  Steven  Soderbergh  and  George  Clooney,  and  starring  Clooney 
and  Matt  Damon  is  set  to  bow  this  fall.)  The  second  film  is  yet 
another  would-be  tentpole  about  a  group  of  woman  minework- 
ers  filing  a  sexual  harassment  lawsuit  against  the  men  they  work 
with.  The  film,  which  is  currently  in  production  and  untitled, 


June  2005  I  The  Independent  49 


stars  a  triumvirate  of  Oscar  winners  including  Charlize  Theron, 
Frances  McDormand,  and  Sissy  Spacek.  The  third  project  is 
Truce,  to  be  helmed  by  House  Of  Sand  And  Fog  director  Vadim 
Perelman  and  is  still  in  development.  Other  projects  in  develop- 
ment at  Participant  include  Clooney's  sophomore  directorial 
effort,  Good  Night.  And,  Good  Luck,  the  doc  The  World  According 
to  Sesame  Street,  and  an  adaptation  of  the  bestseller  memoir 
Reading  Lolita  in  Tehran. 

Not  a  bad  roster  for  the  company's  first  year  in  business.  But 
given  its  A-list  affiliations,  isn't  it  easy  to  assume  that  Participant's 
leanings  are  as  correspondingly  commercial?  Given  its  social  man- 
date, Strauss  says  Participant's  vision  is  much  more  in  line  with 
the  world  of  independent  filmmaking,  but  stresses  that  to  achieve 
their  goal  of  creating  and  disseminating  socially  conscious  mes- 
sages, bankability  is  very  much  apart  of  that.  In  short,  meaning- 
ful (indie)  films  and  commercial  success  should  not  be  mutually 
exclusive. 

"I  think  we  have  to  be  commercially  viable  in  order  to  reach 
the  widest  audience  possible  to  effect  the  change,  to  create  the 
awareness,"  Strauss  says.  "We  probably  have  more  of  an  inde- 
pendent spirit,  but  we  still  have  to  work  in  the  mainstream  mar- 
ketplace. Since  we  also  do  documentaries,  by  virtue  of  the  medi- 
um, it  puts  us  more  on  the  independent  landscape.  Mainstream 
Hollywood  needs  a  diversified  slate.  I  would  argue  that  we  could 
and  should  be  part  of  that  slate.  And  I  think  there's  enough  room 
for  both  blockbusters,  high  concept  mainstream  blockbusters, 
and  movies  that  are  a  bit  more  thoughtful  or  deliberate  but  no  less 
entertaining." 

Because  of  its  governing  philosophy,  Strauss  says  that 
Participant  will  continue  to  be  open  to  independent  filmmakers. 
"We  are  a  great  opportunity  for  independent  filmmakers  who 
have  a  story  to  tell,  and  I  think  we  should  be  looked  at  as  an 
appropriate  door  to  knock  on,"  he  says.  "They  just  have  to  be 
mindful  of  the  fact  that  we  have  a  specific  mission,  and  if  there 
are  filmmakers,  writers  or  actors  with  stories  to  tell  that  comple- 
ment that  mission,  we  are  a  great  home  for  them.  [It's  about]  hav- 
ing an  opportunity  to  have  a  place  to  set  up  a  project  and  ulti- 
mately make  a  movie  or  a  doc  that  [filmmakers]  are  passionate 


about  that  wouldn't  otherwise  happen  because  the  studio  would 
not  want  to  take  on  the  burden  of  developing  and  releasing  a  film 
that  is  more  challenging  than  others." 

Jeff  Skoll  adds,  "The  world  of  independent  film  is  a  little  bit 
freer  of  that  kind  of  commercial,  mass-market  influence  that 
guide  so  many  decisions  for  studios.  I  think  from  an  economic 
standpoint,  you  also  see  these  filmmakers  being  a  little  bit  more 
financially  responsible  because  oftentimes  it  is  people  doing  this 
on  their  own  nickel." 

But  before  you  can  direct  your  humanist  and  entertaining 
script,  show  off  your  skills  at  maximizing  a  shoestring  budget,  or 
even  have  your  project  looked  at,  you'll  need  an  agent.  Almost  all 
of  the  projects  Participant  looks  at  come  from  agents,  managers, 
or  film  festivals,  and  they  tend  to  be  in  the  beginning  stages  of 
pre-production.  Unsolicited  submissions  are  not  accepted.  The 
selection  process  is  rigorous,  says  Chris  Adams,  Participant's  chief 
vision  officer  and  senior  vice  president  of  business  development. 
The  submitted  project  is  looked  at  first  by  the  selection  commit- 
tee, which  composed  the  company's  board  of  advisors.  After  that, 
it  goes  through  creative,  business,  and  marketing — in  that  order. 
Lastly,  it  goes  to  Jeff  Skoll  who  makes  the  ultimate  decision  based 
on  the  quality  of  the  project  and  its  social  significance.  Adams 
walks  through  the  checklist:  "The  first  step  is  accessing  the  mate- 
rial for  its  compliance  with  our  mandate.  Is  it  on  point,  meaning 
does  it  have  social  relevance?  Does  it  have  commercial  viability? 
The  point  is  to  identify  the  pictures  on  the  creative  side.  It's  all 
about  the  story.  Then  to  analyze  them  ferociously  because  we 
want  to  see  how  the  picture  is  being  packaged.  Our  bottom  line: 
we  have  two.  We  want  a  social  return  and  a  financial  return  on 
our  investment." 

To  ensure  some  of  Participant's  films  a  wide  release,  the 
company  has  teamed  up  with  distribution  partners  like  Warner 
Bros,  and  IFC  Films.  Adams  says  that  the  studios  will  always  be 
more  concerned  with  the  financial  aspect,  and  that's  OK.  "We 
like  to  make  money,  and  we  don't  like  to  lose  money,  but  our 
partner  is  always  about  money,"  he  says.  "We  are  celebratory  of 
making  money  but  we  are  more  happy  to  see  that  the  films  are 
beins  seen." 


50  The  Independent  I  June  2005 


Linda  Cardellini  and  Donald  Sutherland  star  in  Participant  Productions's  American  Gun,  written  and  directed  by  Aric 
Avelino,  to  be  released  by  IFC  (Sam  Emerson) 


One  film  that  managed  to  jump  through  all  the  selection 
hoops  is  American  Gun,  a  mosaic  of  stories  about  how  the  prolif- 
eration of  guns  in  the  country  affect  different  lives,  written  and 
directed  by  first-timer  Aric  Avelino.  Avelino  and  his  producer  Ted 
Kroeber  had  been  shopping  the  script  around  for  three  years 
when  Avelino  met  Skoll  at  a  Sundance  industry  party  in  2003. 
The  two  talked  about  film  and  each  others  pet  projects.  Avelino 
says  he  was  shocked  at  how  much  of  a  film  buff  Skoll  is.  "If  you 
don't  know  who  Jeff  Skoll  is,  he's  just  the  eBay  guy,"  Avelino  says. 
"[But]  he  is  just  so  enthusiastic  about  film."  When  Avelino 
returned  to  Los  Angeles,  he  received  a  call  from  Participant  to 
work  on  a  rewrite  for  another  film.  After  that  came  another  call 
asking  to  see  the  script  for  American  Gun,  and  shortly  after  a  deal 
was  struck.  IFC  Films  will  distribute  the  film. 

Before  meeting  up  with  Skoll,  Avelino  says  the  film's  contro- 
versial subject  matter  (one  storyline  is  about  the^aftermath  of  a 
high  school  shooting)  is  what  turned  a  lot  of  studio  execs  away 
from  the  project,  despite  interest  from  and  eventually  participa- 
tion by  a  list  of  venerable  actors,  including  Donald  Sutherland, 
Forest  Whitaker,  Linda  Cardellini,  and  Marcia  Gay  Harden.  "A 
lot  of  people  wanted  to  commercialize  it,"  Avelino  says.  "I  think 
people  were  really  taken  aback  by  the  boldness  of  the  writing.  We 
get  a  lot  of 'we  love  the  script,  but  we  can't  do  it  here.  It's  just  too 
tough.'  They  were  concerned  with  the  budget,  and  that  we  could- 
n't do  it  on  the  budget  we  had." 

Making  it  an  even  tougher  sell  to  Hollywood  was  that  Avelino 
had  never  directed  a  full-length  film  before.  The  27-year-old  film- 


maker got  his  BA  in  theater  arts  from  the  Loyola  Marymount 
University  in  Los  Angeles,  but  not  having  comparable  industry 
experience  proved  to  be  a  setback  until  Participant  came  along. 
"It  takes  a  special  kind  of  company  to  say,  'Look,  we  know  this  is 
your  first  film.  You  are  going  to  work  this  crazy  ridiculous  sched- 
ule. But  we  believe  that  you  can  do  it.'  And  they  did.  They  left 
me  alone,"  Avelino  says. 

Shooting  began  in  July  2003,  with  a  breakneck  schedule  of  24 
days  over  five  weeks  and  is  now  in  post-production.  If  everything 
goes  as  planned,  American  Gun  will  be  the  first  Participant-pro- 
duced film  to  go  public,  which  Avelino  hopes  will  happen  through 
festivals  initially.  "I  think  this  is  definitely  a  festival  film — it's  not 
like  we  are  going  to  open  in  thousands  of  theaters,"  he  says.  "So  it's 
important  for  people  to  see  the  film,  talk  about  it.  Hopefully  more 
people  will  see  it  if  they  respond  to  the  film  festivals. 

For  now,  Participant's  fortune  still  remains  unclear,  and  at  a 
time  when  everyone  wants  to  be  part  of  the  glamour  that  is 
Hollywood,  legitimacy  doesn't  come  easy  to  an  upstart  produc- 
tion company  headed  by  an  ex-dot-com  billionaire  with  well- 
meaning  intentions.  Skoll  is  humble  but  optimistic  about  the 
future  success  of  his  company.  "I  think  Hollywood  has  a  history 
of  people  who've  been  successful  in  traditional  business  and  com- 
ing to  town  and  just  failing  miserably,"  he  says.  "Most  industry 
people  are  skeptical  when  somebody  comes  here  to  make  movies 
or  to  pursue  an  agenda  of  some  kind,  as  I  am.  Credibility  can  only 
come  with  time  and  actual  success — of  actually  doing  good  films 
and  good  projects.  Hopefully  we  are  on  our  way."   -k 


June  2005  I  The  Independent  51 


Roger  Corman's 
How-To 

An  unusual  manual  for  tomorrow's 
filmmakers 


§> 


INCLUDES  DVD 

WITH  6  NEW  FILMS  FROM  TODAY'S 
HOTTEST  YOUNG  DIRECTORS! 


By  Lisa  Selin  Davis 

Roger  Corman,  progenitor  of  the 
American  B-movie  and  a  kind  of 
walking,  solo  "Star  Search"/ 
"American  Idol"  for  the  film  industry,  is 
the  perfect  spokesperson  for  the 
Chamberlain  Bros.  International  Student 
Film  Festival.  Having  launched  the 
careers  of  everyone  from  Martin  Scorsese 
to  Francis  Ford  Coppola  to  John  Sayles, 
James  Cameron,  Peter  Bogdanovich  and 
Jonathan  Demme,  Corman  is  still,  at  age 
79,  on  the  prowl  for  raw  film  talent.  This 
is  the  man  you  want  to  see  your  work 
when  you  come  out  of  film  school,  and, 
if  your  film  is  ever  lucky  enough  to  be 
chosen  by  the  Chamberlain  Bros, 
panelists  for  what  will  from  now  on  be  an 
annual  student  festival  (Corman  is  not 
involved  in  the  selection  process),  he'll  be 
watching.  Maybe  hell  even  throw  you  a 
small  directing  job — something  to  shoot 
in  the  second-unit,  say. 

But  the  Chamberlain  Bros.  Intern- 
ational Student  Film  Festival  which  ran 
from  March  31  to  April  2,  offers  some- 
thing besides  Corman's  presence.  Not 
only  was  the  festival  an  actual  event — 
three  nights  during  which  six  chosen 
films  were  screened  theatrically  and,  at 
the  premiere,  introduced  by  Corman — 
but  it's  also  a  book.  With  an  introduction 
by  Corman  and  short  chapters  and 
interviews  with  the  filmmakers  conduct- 
ed by  Kimberley  Brown,  the  book 
(Chamberlain  Bros.,  $14.95)  includes  a 
DVD  of  all  six  films.  This  means,  for  the 
filmmakers,  that  their  films  will  be 
distributed  widely,  if  not  theatrically,  and 
that  any  number  of  industry  profession- 
als and  aspiring  filmmakers  will  have  a 
chance  to  review  their  work. 

If  you're  neither  an  agent  nor  a  talent 
scout — those  who  have  to  scour  the 
streets  and  film  schools  searching  for  new 
faces  and  new  ideas — you  might  wonder 


how  this  book/DVD 
might  help  you  in  your 
own  quest  to  become  a 
filmmaker.  First  of  all,  it 
shows  you  what  film  exec- 
utives and  talent  evaluators 
are  looking  for.  Corman 
has  professed  admiration 
for  each  of  the  films;  you'll 
be  able  to  see  just  what  it  is 
he  looks  for  in  terms  of 
"early  talent."  And  perhaps 
watching  the  best  six  out 
of  500  entries  might  give 
you  just  the  ego  boost  you 
need.  Maybe  you'll  look  at 
these  works  and  say,  "I  can 
do  better  than  that." 

Secondly,  the  book  offers  a  meditation 
on  the  value  of  film  school  itself.  Other 
than  the  chance  to  enter  student  film 
contests  such  as  this  one,  why  spend  as 
much  money  on  tuition  as  you  could  on 
a  film  of  your  own?  Why  enter  the  indus- 
try via  the  Corman  method — by  starting 
as  a  messenger  boy  on  the  Fox  lot?  (He 
did,  however,  attend  Beverly  Hills  High 
School  with  the  children  of  a  Fox  VP.) 
There  are  more  than  10,000  students 
graduating  from  film  schools  each  year,  he 
writes,  and  only  jobs  for  a  few  of  them,  yet 
it  costs  the  same  as  law  school  or  medical 
school  (degrees  that  will  lead  to  actual 
employment).  Isn't  there  an  easier,  less 
espensive  and  time-consuming  way? 

Corman  says  it's  worth  the  cash  for 
several  reasons.  The  studio  system  has 
changed,  and  it's  not  so  easy  to  start  out 
in  the  mailroom  and  make  your  way  to 
president  these  days.  You  need  a  film,  he 
says,  to  work  as  a  "very  expensive  calling 
card."  You  get  connections  (and,  if  you 
find  yourself  at  one  of  the  big  three  film 
schools— USC,  UCLA  or  NYU— 
chances  are  industry  folks  will  show  up  at 


CHAMBERLAIN  BROS. 

INTERNATIONAL  STUDENT 

film  festival 


INTRODUCTION  BY 


ROGER  CORMAN 


KIMBERLEY  BROWN 


the  screenings).  You  get  access  to  equip- 
ment and  to  cast  and  crew.  And,  most 
importantly,  you  are  immersed  in  the 
depth  and  breadth  of  film  history,  learn- 
ing from  the  great  filmmakers  who  came 
before  you. 

This  last  point  might  puzzle  some  who 
view  the  films  in  this  collection  or  who 
read  their  interviews.  The  filmmakers 
don't  seem  to  be  as  influenced  by  the  his- 
torical greats  as  they  do  by  recent 
cinematic  sensations.  Observe  this  sam- 
ple of  the  filmmakers'  favorite  films:  The 
Karate  Kid  (1984),  Wonder  Boys  (2000), 
E.  T.  The  Extra  Terrestrial  (1982),  This  Is 
Spinal  Tap  (1984),  Election  (1999), 
Magnolia  (1999),  The  Lord  of  the  Rings 
(2001),  The  Matrix  (1999),  The  Passion 
of  the  Christ  (2004),  American  Beauty 
(1999),  and  Bull  Durham  (1988).  Yes, 
one  filmmaker  cites  Bull  Durham  as  one 
of  the  films  most  important  to  her.  The 
only  older  films  mentioned  are  The 
Graduate  ( 1 967) ,  Casablanca  ( 1 942) ,  and 
Rear  Window  (1954),  and  the  filmmakers 
cite  influences  such  as  Cameron  Crowe 
and  Paul  Thomas  Anderson.  What  kind 


52  The  Independent  I  June  2005 


of  education  are  they  getting  that  they  are 
not  affected  by  the  films  that  inspired 
their  favorite  directors? 

"You're  always  influenced  by  the 
generation  that  comes  before  you," 
explains  Corman,  "but  you  should  be 
aware  of  and  influenced  by  the  entire  his- 
tory of  films.  Its  like  a  writer  not  men- 
tioning Shakespeare  as  an  influence." 

The  DVD  includes  Toxin,  a  thriller  by 
undergraduate  Chris  Folkens;  Zeke,  a 
comedy  by  Dana  Buning  about  a 
neutered  cat  taking  revenge  on  its  owner; 
The  Reunion,  Ben  Epsteins  romantic 
comedy  about  a  fateful  meeting  between 
a  businesswoman  and  the  homeless  man 
who  used  to  be  her  boyfriend;  The 
Plunge,  another  romantic  comedy,  by 
Todd  Schulman,  about  a  man  working 
up  the  courage  to  propose;  and  the  best 
of  the  American  crop,  Perils  in  Nude 
Modeling,  a  dark  comedy  about  a  Nazi- 
esque  drawing  professor  and  the  student 
and  model  who  fall  in  love  despite  him, 
by  Scott  Rice. 

The  best  film  of  the  group, 
Enlightenment,  is  by  Thai  filmmaker 
Tanon  Sattarujawong  (whose  presence 
legitimizes  the  title  of  "international  film 
festival"),  who  cites  such  influences  as  the 
great  Iranian  filmmaker  Abbas 
Kiarostami,  and  Edward  Yang,  director  of 
Yi  Yi  (2000). 

Corman  is  not  bothered  by  what  some 
in  the  audience  saw  as  the  lack  of  origi- 
nality or  vision  in  the  films.  In  fact, 
Corman  said  he  found  the  proliferation 
of  comedies  refreshing.  "There's  an 
attempt  generally  to  be  Ingmar 
Bergman,"  he  said  of  young  filmmakers. 
His  remark  begs  the  question:  Would  you 
rather  see  another  generation  of  Autumn 
Sonata,  or  would  you  like  a  new  crop  of 
Die  Hard  derivatives?  But  Corman  is  the 
foremost  expert  on  spotting  inchoate 
talent.  How  many  among  us  would  have 
known  from  their  early  work  that  Sayles 
and  Demme  and  Scorsese  were  capable  of 
cinematic  greatness? 

Of  course,  books  on  Sayles  and 
Demme  and  Scorsese  would  be  of  inter- 
est to  us  because  these  directors  have 
already  accomplished  so  much.  Most  of 
these  youngsters  have  not  yet  been 
around  the  block  and  are  not  yet  in  a 


position  to  reflect  on  the  long  journeys  of 
their  careers.  But  for  students  just  start- 
ing out,  it  might  be  a  useful  manual  for 
what  lies  ahead  or  for  what  you're  getting 
yourself  into  if  you  do  sign  up  for  film 
school. 

The  book  is  also  a  boon  to  some  of  the 
lesser-known  film  schools.  One  film 
came  out  of  Florida  State  University,  and 
another  one  from  the  University  of 
Illinois  at  Urbana/Champaign  (a  school 
with  no  actual  film  program),  which 
proves  that  it's  an  equal  opportunity 
festival  and  not  just  a  feeder  from  the  big 
three  straight  into  the  industry. 

The  reason  Corman  didn't  attend  film 
school  all  those  years  ago  is  simple:  he 
didn't  know  they  existed.  Now  that  there 
are  more  than  20  film  programs  all  over 
the  country,  he  says  if  he  had  to  do  it  all 
over  again,  he'd  go  to  film  school.  We're 
living  in  what  Corman  says  is  probably 
the  hardest  time  for  independent  film- 
makers in  his  50-plus  years  in  the  indus- 
try. "I  can't  hit  a  home  run,"  he  said, 
referring  to  the  difficulty  of  getting  the- 
atrical releases  in  this  time  of  corporate 
consolidation,  when  the  theaters  and  stu- 
dios, even  the  concessions  stands,  are  all 
in  handshaking  agreements  at  the  highest 
level,  making  it  nearly  impossible  for  the 
independents  to  squeeze  in. 

The  Chamberlain  Bros.  International 
Film  Festival  book/DVD  does  give  these 
kids  a  chance  to  at  least  hit  a  single.  It 
also  makes  the  experience  of  reading 
about  filmmaking  less  academic  and 
more  hands-on — you  can  read  about  the 
process  of  filmmaking,  and  then  actually 
watch  the  film  discussed.  It's  a  trend 
that's  growing  and  not  just  a  gimmick.  If 
anything,  perhaps  it  will  get  more  people 
to  read,  and  it  represents  a  potential 
revolution  in  film  distribution,  albeit  it  a 
quiet  one. 

The  book  and  DVD  purport  to  offer 
films  from  "today's  hottest  young  direc- 
tors," a  claim  that's  a  good  deal  mislead- 
ing. What  they  mean,  I  think,  is,  "tomor- 
rows hottest  young  directors."  Perhaps 
we'll  see  their  names  on  the  next  Roger 
Corman  picture.  "I  wouldn't  give  them  a 
feature  to  direct,"  he  says.  "But  I'd  trust 
them  with  something  small."    it 


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edited  by  Rania  Richardson 

What  You'll  Find: 

1  Up-to-date  profiles  of  close  to  200 
distributors,  supplemented  by  "how 
to"  articles,  selected  reprints  from 
The  Independent,  and  in-depth  inter- 
views with  over  20  distributors. 

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June  2005  I  The  Independent  53 


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DOMESTIC 

ANGELUS  AWARDS  STUDENT  FILM  FESTIVAL 

Oct.  23,  CA.  Deadline:  July  1.  College/Film 
School  competition  takes  place  at  the  DGA 
in  California.  Cats:  feature,  doc,  short, 
animation,  student.  Formats:  1/2",  3/4",  S- 
VHS,  DVD.  Preview  on  VHS,  3/4"  (NTSC 
only).  Entry  Fee:  $25  .  Contact:  Monika 
Moreno:  (800)  874-0999;  fax:  874-1168; 
mfo@angelus.org;  www.angelus.org. 

ANNAPOLIS  FILM  FESTIVAL,  Nov  1114,  MD. 
Deadline:  June  3;  June  24;  July  8  (final).  A 
four-day  fest  showcasing  independent  films 
&  documentaries  produced  by  local  &  nat'l 
filmmakers.  Its  mission  is  to  "celebrate  the 
capacity  of  independent  film  to  move  us, 
teach  us  &  entertain  us."  Cats:  feature,  doc, 
short,  animation.  Formats:  35mm,  Beta  SP, 
DV,  DVD.  Preview  on  VHS  or  DVD.  Entry 
Fee:  $25-$50.  Contact:  Festival;  (410)  263- 
2388;  fax:  263-2629;  info@annapolisfilmfesti 
val.com;  www.annapolisfilmfestival.com. 

ASPEN  FILMFEST,  Sept.  28-Oct.  2,  CO 
Deadline:  July  8.  With  an  emphasis  on  inde- 
pendent productions  from  around  the  world, 
this  fall  fest  champions  "filmmaking  at  its 
finest".  Founded:  1979.  Cats:  feature,  doc, 
family,  children,  animation.  Awards:  Non- 
Competitive.  Formats:  16mm,  35mm,  Beta 
SP,  U-matic,  DigiBeta.  Preview  on  VHS 
(NTSC  or  PAL)  or  DVD.  Entry  Fee:  $35. 
Contact:  Laura  Thielen;  (970)  925-6882; 
fax:  925-1967;  filmfest@aspenfilm.org; 
www.aspenfilm.org. 

AUSTIN  FILM  FESTIVAL,    Oct    20-27.   TX. 


Deadline:  June  1 5;  July  1 5  (final).  Fest  is  ded- 
icated to  the  writer  as  the  heart  of  the  cre- 
ative process  of  filmmaking  &  uncovers  out- 
standing, emerging  writers,  fostering  their 
development  through  panels,  workshops  & 
master  classes  conducted  by  professionals. 
Founded:  1994.  Cats:  feature,  short,  student, 
script.  Formats:  35mm,  16mm,  DigiBeta, 
Beta  SP.  Preview  on  VHS  or  DVD.  Entry  Fee: 
$40;  $50  (final).  Contact:  Lisa  Albracht;  (800) 
310-FEST/  (512)  478-4795;  fax:  478-6205; 
film@austinfilmfestival.com;  www.austin 
filmfestival.com. 

AUSTIN  GAY  &  LESBIAN  INT'L  FILM  FESTIVAL 

Sept.  31 -Oct.  8,  TX.  Deadline:  June  2.  Fest  is 
the  oldest  &  largest  fest  in  the  Southwest. 
AGLIFF  continues  its  mission  to  "exhibit 
high-quality  gay  &  lesbian,  bisexual  &  trans- 
gender  films  &  videos  that  enlighten,  edu- 
cate &  entertain  all  communities."  Founded: 
1986.  Cats:  Feature,  Short,  Children,  Doc, 
Experimental,  Animation.  Formats:  35mm, 
1/2",  DV,  DVD.  Preview  on  VHS  or  DVD. 
Entry  Fee:  None.  Contact:  Mo  Ratel;  (512) 
302-9889;  fax:  302-1088;  film@agliff.org; 
www.agliff.org. 

BETHEL  FILM  FESTIVAL,  Oct  25-30,  NY 
Deadline:  May  31;  July  15  (final).  Six  days  & 
nights  of  independent  &  int'l  film  that  will  be 
shown  on  multiple,  concurrent  screens  at 
The  Bethel  Cinema,  an  established  filmgoer 
mecca  in  affluent  Fairfield  County.  Cats: 
feature,  doc,  short,  student,  animation. 
Awards:  Cash  &  In-kind  prizes.  Formats: 
35mm,  16mm,  Beta  SP,  HD,  DV  Cam. 
Preview  on  VHS  or  DVD.  Entry  Fee:  $20-$60. 
Contact:    Carol    Spiegel;    (203)    790-4321; 


info@bethelfilmfestival.com;  www.bethel 
filmfestival.com. 

CINEKINK  NYC,  Oct.  18-23,  NY.  Deadline: 
May  20;  July  1  (final).  Fest  explores  "a  wide 
diversity  of  alternative  sexuality  incl.  -  but  by 
no  means  limited  to  -  S/M,  leather  &  fetish, 
bondage  &  discipline,  dominance  &  submis- 
sion, roleplay,  swinging,  polyamory  &  non- 
monogamy,  &  gender  bending".  Cats:  fea- 
ture, doc,  short,  experimental,  animation, 
any  style  or  genre,  music  video.  Formats: 
35mm,  16mm,  Beta  SP,  DVD,  1/2",  Super  8. 
Preview  on  VHS  or  DVD.  Entry  Fee:  $20;  $30 
(final).  Contact:  Festival;  info@cinekink.com; 
www.cinekink.com. 

COLUMBUS  INT'L  FILM  &  VIDEO  FESTIVAL, 

Mid-November,  OH.  Deadline:  July  1. 
Competitive  fest  w/  screenings  of  selected 
winners,  founded  in  1952,  is  one  of  the  old- 
est non-theatrical  showcases  in  country. 
Founded:  1952.  Cats:  feature,  doc,  experi- 
mental, short,  animation,  any  style  or  genre, 
student,  youth  media,  TV.  Formats:  CD- 
ROM,  1/2",  DVD.  Preview  on  VHS  or  DVD. 
Entry  Fee:  $75  &  up  (professionals);  $35-$50 
(students).  Contact:  Judy  Chalker;  (614)  444- 
7460;  fax:  same;  info@chrisawards.org; 
www.chrisawards.org. 

CONEY  ISLAND  FILM  FESTIVAL,  Sept  30  Oct 
2,  NY.  Deadline:  May  6;  July  1  (final).  Fest's 
mission  is  to  raise  funds  for  the  non-profit 
arts  organization  Coney  Island  USA  &  to 
present  a  fun  &  unique  program  of  films  at 
the  legendary  Sideshows  by  the  Seashore  & 
Coney  Island  Museum  venues.  Cats:  fea- 
ture,  doc,   short,   animation,   experimental, 


54  The  Independent  I  June  2005 


music  video.  Formats:  DV,  16mm,  Super  8, 
35mm.  Preview  on  VHS,  DVD  or  Mini-DV. 
Entry  Fee:  $20;  $25  (final).  Contact:  Festival; 
info@coneyislandfilmfestival.com; 
www.coneyislandfilmfestival.com. 

DUMBO  SHORT  FILM  &  VIDEO  FESTIVAL,  Oct 

14-16,  NY.  Deadline:  June  1;  Aug.  1  (final). 
Film  &  video  event  is  part  of  the  annual 
D.U.M.B.O.  Art  Under  the  Bridge  Festival  & 
is  designed  to  showcase  the  work  of  inde- 
pendent &  experimental  film  &  videomakers 
living  in  NYCis  five  boroughs.  Works  must  be 
30  min.  or  less.  Founded:  1996.  Cats:  short, 
any  style  or  genre.  Formats:  16mm,  1/2", 
Mini-DV,  DVD,  Beta  SP.  Preview  on  VHS. 
Entry  Fee:  $15;  $25  (final).  Contact: 
D.U.M.B.O.  Arts  Center;  (718)  694-0831; 
mail@dumboartscenter.org;  www.dumb 
oartscenter.org. 

EUREKA  INT'L  FILM  FESTIVAL,  Oct  22  30,  NY 

Deadline:  May  20;  June  17.  Festival  show- 
cases political  &  socially  conscious  films  by 
filmmakers  from  all  over  the  world,  present- 
ing views  that  span  the  political  spectrum. 
Fest  celebrates  the  "freedom  of  expression" 
&  will  feature  documentaries,  fictional 
works,  animations  &  political  humor. 
Founded:  2005.  Cats:  feature,  doc, 
animation,  short.  Formats:  16mm,  35mm, 
Beta  SP.  Preview  on  VHS  or  DVD.  Entry  Fee: 
$25  shorts;  $30  features.  Contact:  Festival; 
(212)  714-4617;  info@eurekaiff.com; 
www.eurekaiff.ocm. 

GREAT  LAKES  INDEPENDENT  FILM  FESTIVAL, 

Sept.  22-25,  PA.  Deadline:  July  1 .  Annual  fest 
will  takes  place  in  the  city  of  Erie,  PA. 
Centrally  located,  Erie  is  only  a  short  drive 
from  the  cities  of  Cleveland,  Ohio,  Buffalo, 
NY,  &  Pittsburgh,  PA.  Fest's  goal  is  showcas- 
ing new  independent  films,  recognizing 
outstanding  filmmakers.  Founded:  2002. 
Cats:  feature,  doc,  short,  animation,  experi- 
mental. Formats:  Beta  SP,  DVD.  Preview  on 
VHS  (NTSC)  or  DVD.  Entry  Fee:  $45-$85. 
Contact:  Steve  Opsanic;  (814)  834-5069;  fax: 
734-5402;  fest@greatlakesfilmfest.com; 
www.greatlakesfilmfest.com. 

HAMPTONS  INT'L  FILM  FESTIVAL,  Oct  19-23, 
NY.  Deadline:  May  10;  June  7  (final).  Now 
entering  its  12th  year,  the  fest  offers  diverse 
programming   w/   breakout   films   by   new 


directors,  premieres  by  established  filmmak- 
ers, panel  discussions,  special  events  w/ 
guests  from  the  industry  &  awards  worth 
over  $200,000.  Founded:  1993.  Cats:  fea- 
ture, short,  doc,  world  cinema,  films  of 
conflict  &  resolution,  student,  youth  media, 
family,  children.  Formats:  35mm,  Beta  SP, 
DigiBeta.  Preview  on  VHS  or  DVD.  Entry 
Fee:  shorts  $35/$50;  features,  docs  $50/$75. 
Contact:  HIFF;  (212)  431-6292;  fax:  431- 
5440;  programming@hamptonsfest.org; 
www.hamptonsfest.org. 

HARDACRE  FILM  FESTIVAL,   Aug     5  6,    I A 

Deadline:  June  7.  Fest  recognizes  excellence 
in  independent  cinema,  w/  screenings  at  the 
art-deco  Hardacre  Theatre.  Founded:  1997. 
Cats:  Feature,  Doc,  Short,  Animation, 
Experimental,  Foreign,  Student.  Formats: 
16mm,  35mm,  DV,  DVD.  Preview  on  VHS. 
Entry  Fee:  $15  (shorts  under  60  mm.);  $25 
(features).  Contact:  Festival;  (563)  886-2175; 
fax:  886-2213;  director@hardacrefilmfesti 
val.com  ;  www.hardacrefilmfestival.com. 

HAWAII  INTERNATIONAL  FILM  FESTIVAL,  20 

30,  HI.  Deadline:  July  1.  Annual  fest  is  dedi- 
cated to  promoting  cross-cultural  under- 
standing among  peoples  of  Asia,  N.  America 
&  the  Pacific  region  through  the  presentation 
of  features,  docs  &  shorts  dealing  w/  rele- 
vant subject  matter.  In  the  past,  fest  has  pre- 
sented over  200  films  across  six  islands  to 
over  65,000  people.  Founded:  1980.  Cats: 
feature,  doc,  short.  Formats:  35mm,  Beta  SP. 
Entry  Fee:  $35;  $50  (final).  Contact: 
Anderson  Le-  ale@hiff.org,  1001  Bishop  St. 
ASB  Tower,  Suite  745,  Honolulu,  HI  96813; 
808-528-3456;  fax:  808-528-1410; 

info@hiff.org;  www.hiff.org 

HIP-HOP  ODYSSEY  INT'L  FILM  FESTIVAL 
(H20),  Nov.  13-19,  NY.  Deadline:  June  1;  July 
1 5 — (final).  Fest  showcases  "the  best  of 
American  &  Int'l  independent  Hip-Hop  cine- 
ma." The  fest's  mission  is  to  create  "cultur- 
al sustainability  &  industry  longevity  by  sup- 
porting the  use  of  Hip-Hop  culture  as  a  tool 
for  social  awareness  &  youth  empower- 
ment". Cats:  youth  media,  feature,  doc, 
short,  animation,  experimental,  PSA,  music 
video.  Entry  Fee:  $15-$30.  Contact:  Stacey 
L'Air  Lee,  Programming  Director;  (212)  500- 
5970;  fax:  300-4895;  stacey@hiphopassocia 
tion.org;  www.h2oiff.org. 


IDA  /  DAVID  L.  WOLPER  STUDENT  AWARDS, 

Dec.  9,  CA.  Deadline:  June  10.  Int'l  Doc 
Association  student  documentary  achieve- 
ment award.  Films  &  videos  must  be  pro- 
duced by  registered,  matriculating  stu- 
dents.The  winning  entry  will  be  shown  at 
IDA's  annual  DocuFest,  a  day  long  screening. 
Four  Merit  winners  will  be  selected,  but 
receive  no  cash  prize.  Cats:  student,  doc. 
Awards:  $1,000  cash  prize,  plus  $1,000  cer- 
tificate toward  Eastman  Kodak  motion  pic- 
ture film..  Formats:  Any  format  is  eligible, 
for  initial  judging,  1/2"  NTSC  format  is  pre- 
ferred.. Preview  on  VHS  or  DVD.  Entry 
Fee:  $45.  Contact:  Festival;  (213)  534-3600 
ext.  7438;  fax:  534-3610;  tracie@documen 
tary.org;  www.documentary.org. 

IMAGEOUT:  THE  ROCHESTER  LESBIAN  &  GAY 
FILM  &  VIDEO  FESTIVAL,  October  7  16,  NY 
Deadline:  July  1.  Fest  is  "an  exciting  & 
important  venue  for  lesbian,  gay,  &  queer 
film-  &  videomakers."  Last  yr.  fest  screened 
over  40  programs,  incl.  more  than  120  films 
&  videos.  Also  features  "Third  Coast"  call, 
highlighting  filmmakers  from  the  U.S.  & 
Canada  who  live  w/in  a  200-mile  radius  of  the 
Great  Lakes  &  St.  Lawrence  Seaway. 
Founded:  1993.  Cats:  feature,  doc,  short, 
experimental,  animation,  youth  media,  music 
video,  family.  Formats:  35mm,  16mm,  1/2", 
Beta  SP,  DVD.  Preview  on  VHS  or  DVD.  Entry 
Fee:  $10.  Contact:  Festival;  (585)  271-2640; 
fax:  271-3798;  imageout@rochester.rr.com; 
www.imageout.org. 

JACKSON   HOLE  WILDLIFE  FILM  FESTIVAL, 

Sept.  19-24,  WY  Deadline:  June  1.  Fest 
seeks  films  dealing  w/  natural  history, 
wildlife,  conservation  &  related  topics. 
Entries  must  have  been  completed  w/in  the 
past  two  years.  Cats:  natural  history  pro- 
gramming, doc.  Formats:  HD,  DigiBeta,  Beta 
SP,  DVD.  Preview  on  VHS.  Entry  Fee:  $50- 
200.  Contact:  Laura  Johnson;  (307)  733- 
7016;  fax:  733-7376;  info@jhfestival.org; 
www.jhfestival.org. 

LONG  ISLAND  GAY  &  LESBIAN  FILM 
FESTIVAL,  November  11-17,  NY.  Deadline: 
July  1;  Aug.  15  (final).  Entry  Fee:  $15;  $25 
(final).  Contact:  Stephen  Flynn;  (631)  547- 
6650;  fax:  547-6651;  info@liglff.org; 
www.liglff.org. 


June  2005  I  The  Independent  55 


LOS  ANGELES  INT'L  SHORT  FILM  FESTIVAL 
(LA  SHORTS  FEST),  Sept.  7-13,  CA.  Deadline: 
May  17;  June  17  (final).  Fest  dubs  itself  "the 
largest  short  film  fest  in  the  world,:  Seeks 
Shorts,  Features  &  Screenplays  shorts 
(under  40  min.)  &  long  shorts  (40-60  min.),  as 
well  as  feature-length  works  by  directors 
who  have  previously  completed  a  short  film 
in  their  career.  Founded:  1997.  Cats:  Short, 
Animation,  Doc,  Experimental,  any  style  or 
genre,  feature.  Formats:  35mm,  16mm,  Beta 
SR  DigiBeta.  Preview  on  VHS  or  DVD.  Entry 
Fee:  $45-$70.  Contact:  Robert  Arentz, 
Founder  &  Festival  Director;  (323)  851- 
9100;  info@lashortsfest.com;  www.lashorts 
fest.com. 

MANHATTAN  SHORT  FILM  FESTIVAL,  Sept 
16-25,  NY.  Deadline:  June  30  (scripts);  July 
31.  Once  a  yr.  thousands  of  New  Yorkers 
gather  inside  Union  Square  Park  to  watch 
short  films.  The  fest  will  screen  in  over  30 
states  across  the  country.  Viewers  will  not 
only  get  the  chance  to  view  the  next  genera- 
tion of  filmmakers  but  vote  on  them  as  well. 
Winner  of  the  fest  will  be  bought  into  a  fea- 
ture film  as  director  &  that  film  will  be  dis- 
tributed to  the  very  same  venues  that  voted 
for  the  director.  Founded:  1998.  Cats:  short, 
any  style  or  genre,  script.  Formats:  DigiBeta. 
Preview  on  VHS  (NTSC/PAL).  Entry  Fee:  $35; 
$25  (scripts).  Contact:  Nicholas  Mason; 
(201)  969-8049;  info@msfilmfest.com; 
www.msfilmfest.com. 

MILL  VALLEY  FILM  &  VIDEO  FESTIVAL,  Oct  6- 

16,  CA.  Deadline:  April  1;  June  30  (final). 
Invitational,  noncompetitive  fest  screens 
films  of  all  genres  &  lengths  &  has  become  a 
premiere  West  Coast  event,  bringing  new  & 
innovative  works  to  Northern  California  audi- 
ences. Premieres  &  new  works  emphasized. 
Cats:  Feature,  Doc,  Short,  Interactive, 
Children,  Animation,  Experimental.  Awards: 
Audience  &  Jury  awards  for  shorts.  Formats: 
35mm,  16mm,  Beta  SP  Preview  on  VHS. 
Entry  Fee:  $25;  $30  (final).  Contact:  Zoe 
Elton;  (415)  383-5256;  fax:  383-8606; 
info@cafilm.org;  www.cafilm.org. 

NEUSE  RIVER  FOUNDATION  ENVIRONMENTAL 
FILM  FESTIVAL,  Oct.  21-22,  NC.  Deadline: 
July  1 .  Fest  features  films  that  have  water  & 
it's  relationship  to  the  environment  as  a  cen- 
tral theme.  Founded:  2005.  Cats:  any  style  or 


genre,  feature,  doc,  short,  animation,  experi- 
mental. Formats:  DVD.  Preview  on  VHS/DVD. 
Entry  Fee:  None.  Contact:  Neuse  River 
Foundation;  (919)  856-1180;  fax:  839-0767; 
jackie.nrf@att.net;  www.neuseriver.org. 

NEW  HAMPSHIRE  FILM  EXPO,  Oct  14-16, 
NH.  Deadline:  July  1;  Aug.  1  (final).  NHFX  is 
a  community-inclusive  event  intended  to 
enhance  the  ars  arts  &  tourism  aspects  of 
NH.  This  is  the  state's  largest  film  event, 
incl.:  independent  &  student  film  screenings, 
tradeshow,  young  filmmaker's  workshops  & 
others.  Cats:  feature,  doc,  short,  animation, 
student,  any  style  or  genre,  script.  Awards: 
Best:  Feature,  Drama  Short,  Comedy  Short, 
Doc,  Animation,  Student.  Formats:  Beta  SP, 
DVD,  Mini-DV,  VHS-NTSC,  1/2".  Preview  on 
VHS,  Mini-DV  or  DVD.  Entry  Fee:  $20-$45. 
Contact:  NHFX;  (603)  647-NHFX  (6439); 
info@nhfx.com;  www.nhfx.com. 

NEW  JERSEY  FILMMAKERS  FESTIVAL,  TBA, 

NJ.  Deadline:  June  1.  Fest  accepts  films 
from  New  Jersey  filmmakers.  Run  by  under- 
ground &  independent  filmmakers  dedicated 
to  supporting  &  encouraging  creative  film- 
making. Cats:  doc,  feature,  short,  animation, 
experimental,  music  video,  any  style  or 
genre.  Formats:  16mm,  1/2",  Beta  SR  Super 
8.  Preview  on  VHS  or  DVD.  Entry  Fee:  None. 
Contact:  c/o  Paul  Holgerson;  (732)  545-5864; 
paulholgerson@hotmail.com. 

NEW  YORK  FILM  FESTIVAL,  Sept  23-Oct.  9, 
NY.  Deadline:  July  16.  The  New  York  Film 
Festival  is  an  annual  fest  which  aims  to 
demonstrate  the  development  of  int'l  film  art 
&  contemporary  trends  in  content,  form  & 
style.  The  Festival  is  non-competitive.  No 
prizes  are  awarded.  As  a  special  event  of  the 
Festival,  Views  from  the  Avant-Garde  takes 
place  in  the  Walter  Reade  Theater  at  Lincoln 
Center,  a  program  of  non-narrative  experi- 
mental films  of  any  length  demonstrating 
innovative  cinematic  technique.  Works  can 
originally  be  shot  on  video  or  film,  but  you 
must  have  a  16mm  or  35mm  print  for  actual 
fest  exhibition.  Founded:  1962.  Cats:  fea- 
ture, doc,  short,  experimental,  animation, 
student,  any  style  or  genre.  Formats:  35mm, 
16mm.  Preview  on  VHS,  DVD  or  Print.  Entry 
Fee:  None.  Contact:  Sara  Bensman;  (212) 
875-5638;  fax:  (212)  875-5636;  festival@film- 
linc.com;  www.filmlinc.com. 


OHIO  INDEPENDENT  FILM  FESTIVAL,  Nov, 
OH.  Deadline:  March  1;  May  1;  June  10 
(Final).  Fest  only  accepts  submissions  w/out 
theatrical  distribution  &  is  programmed 
100%  from  those  submissions.  Founded: 
1 994.  Cats:  any  style  or  genre,  feature,  short, 
doc,  animation,  experimental.  Formats: 
16mm,  S-8,  1/2",  super  8,  Beta  SP.  Preview 
on  VHS  or  DVD.  Entry  Fee:  $20  (shorts  under 
15  min.);  $35  (15  mm.  &  over);  late  fees 
are  doubled;  screenplays:  $40;  $60  (late). 
Contact:  Annetta  Marion  &  Bernadette 
Gillota;  (216)  651-7315;  fax:  (216) 
651-7317;  ohioindiefilmfest@juno.com; 
www.ohiofilms.com. 

OJAI  FILM  FESTIVAL,  Oct  20-23,  CA 
Deadline:  June  1;  July  1  (final).  Theme: 
"Enriching  the  Human  Spirit  Through  Film." 
Films  &  videos  on  all  subjects  in  any  genre 
are  welcomed.  Cats:  feature,  doc,  short,  ani- 
mation, student,  any  style  or  genre.  Formats: 
35mm,  Beta  SP,  Mini-DV,  DV  Cam.  Preview 
on  VHS  (NTSC),  DVD.  Entry  Fee:  $25-$45. 
Contact:  Steve  Grumette,  Artistic  Director; 
(805)  649-4000;  filmfestival@ojai.net; 
www.ojaifilmfestival.org. 

PORT  TOWNSEND  FILM  FESTIVAL,  Sept  23- 
25,  WA.  Deadline:  April  30;  May  30;  June  1 5. 
Festival  aims  to  showcase  independent  film- 
makers &  films  to  provide  creative  activity  for 
the  public  along  w/  periodic  classes  &  semi- 
nars. The  emphasis  is  on  providing  a  cre- 
ative experience  &  promoting  films. 
Founded:  2000.  Cats:  feature,  doc,  short, 
animation.  Formats:  S-VHS,  Beta  SP,  35mm. 
Preview  on  VHS  (PAL,  NTSC)  or  DVD.  Entry 
Fee:  $15-$45.  Contact:  PTFF;  (360)  379- 
1333  fax:  379-3996;  info@ptfilmfest.com; 
www.ptfilmfest.com. 

PUTNAM  COUNTY  FILM  &  VIDEO  FESTIVAL 

Oct.  1-2,  NY.  Deadline:  July  16.  This  regional 
film/video  fest  celebrates  community  media- 
making.  Includes  Gala  Awards  Ceremony  & 
Dinner.  Filmmakers  must  reside  in  NY  State 
or  project  must  have  a  strong  connection  to 
NY.  Founded:  2001.  Cats:  trailers,  works-in- 
progress,  feature,  doc,  short,  any  style  or 
genre,  music  video,  animation,  experimental, 
student.  Formats:  DV,  Beta  SP,  Mini-DV, 
DVD,  Betacam,  DVCAM.  Preview  on  VHS. 
Entry  Fee:  $25  under  59  mm.;  $35  over  60 
mm..    Contact:    Maryann    Arrien,    Festival 


56  The  Independent  I  June  2005 


Director;  (845)  528-7420;  fax:  (same); 
maryann@putnamvalleyarts.com;  www. put 
namvalleyarts.com. 

QUITTAPAHILLA  FILM  FESTIVAL,  Sept  30 
Oct.  2,  PA.  Deadline:  July  1.  Set  in  the 
Central  Pennsylvania  valley,  just  20  mm. 
from  Hershey,  PA.  Festival  holds  screenings 
at  the  historic  Allen  Theatre,  w/  additional 
screenings  in  the  Lebanon  Valley  College 
lawns.  Founded:  2004.  Cats:  feature,  doc, 
short.  Awards:  Cash  Prizes.  Formats:  16mm, 
35mm,  DVD,  Beta.  Preview  on  VHS  or  DVD. 
Entry  Fee:  $25.  Contact:  Jeff  Ritchie/Skip 
Ebert;  (717)  964-2222;  todd.klick@clipper 
magazine.com;  www.qfilms.org. 

REELING:  CHICAGO  LESBIAN  &  GAY  INT'L 
FILM  FESTIVAL,  Nov.  3-10,  IL.  Deadline:  July 
1 ;  July  1 5.  Annual  fest  seeks  wide  variety  of 
lesbian,  gay,  bisexual,  &  transgendered  films 
&  videos  for  second  oldest  fest  of  its  kind  in 
the  world.  All  genres  &  lengths  accepted. 
Founded:  1981.  Cats:  Any  style  or  genre, 
Feature,  Experimental,  Animation,  Short, 
doc.  Formats:  35mm,  16mm,  Beta  SP, 
DVD,  1/2",  Mini-DV.  Preview  on  VHS.  Entry 
Fee:  $15-$25.  Contact:  c/o  Chicago 
Filmmakers;  (773)  293-1447;  fax:  293-0575; 
reeling@chicagofilmmakers.org; 
www.chicagofilmmakers.org. 

REHOBOTH  BEACH  INDEPENDENT  FILM 
FESTIVAL,  Nov.  9-13,  DE.  Deadline:  June  19; 
July  15  (final).  Fourth  annual  fest  celebrates 
independent  &  foreign  cinema  in  a  pictur- 
esque coastal  resort  setting.  Approx.  100 
entries  will  be  selected  for  diverse  program- 
ming in  eight  theaters.  No  repeat  entries. 
Founded:  1998.  Cats:  feature,  doc,  anima- 
tion, experimental,  children,  short,  gay  &  les- 
bian, student.  Formats:  35mm,  Beta  SP, 
DVD,  1/2".  Preview  on  VHS  (NTSC,  PAL)  or 
DVD.  Entry  Fee:  $20;  $25  (final).  Contact: 
David  Gold;  (302)  645-9095;  fax:  645-9460; 
david@rehobothfilm.com;  www.rehoboth 
film.com. 

ROCKY  MOUNTAIN  WOMEN'S  FILM 
FESTIVAL,  Nov.  4-6,  CO.  Deadline:  June  30. 
Fest  celebrates  "the  drive,  spirit  &  diversity 
of  women"  Cats:  Feature,  Doc,  Short, 
Animation.  Formats:  35mm,  16mm,  3/4", 
1/2".  Preview  on  VHS.  Entry  Fee:  $25. 
Contact:    Linda    Broker;    (719)    226-0450; 


fax:  579-5395;  hnda@rmwfilmfest.org; 
www.rmwfilmfest.org. 

ROUTE  66  FILM  FESTIVAL,  Sept  17  18,  IL 
Deadline:  July  15.  Fest  seeks  works  that 
"involve  some  kind  of  journey"  (physical, 
emotional,  intellectual).  Cats:  feature,  short, 
experimental.  Awards:  Awards  for  judges' 
choice,  best  of  fest,  audience  favorite. 
Formats:  1/2",  DVD.  Preview  on  VHS.  Entry 
Fee:  $20  (features);  $10  (shorts,  under  20 
mm.).  Contact:  Linda  McElroy  at  linmcel 
roy@aol.com;  www.route66filmfestival.com. 

SAN  DIEGO  FILM  FESTIVAL,  Sept  21-25,  CA. 
Deadline:  June  1 ;  July  1  (final).  Cats:  feature, 
doc,  short,  any  style  or  genre. Formats: 
35mm,  16mm,  Beta  SP,  1/2",  DVD.  Preview 
on  VHS  (NTSC),  DVD.  Entry  Fee:  $35  (fea- 
tures/docs); $25  (shorts);  $45  (features  final); 
$35  (shorts  final).  Contact:  San  Diego  Film 
Foundation;  (619)  582-2368;  fax:  286-8324; 
mfo@sdff.org;  www.sdff.org. 

SCREAMFEST  HORROR  FILM  &  SCREENPLAY 
COMPETITION,  October  14-23,  CA.  Deadline: 
July  15;  Aug.  15.  Fest  is  a  mix  of  films, 
sketch  comedy,  &  contests  for  best  costume 
&  loudest  shriek.  Festivities  take  place  at  the 
Vogue  Theatre  in  Hollywood.  Cats:  feature, 
short,  animation,  script.  Entry  Fee:  features 
$40,  shorts  $30  &  screenplays  $35.  Contact: 
Rachel  Belofsky,  festival  producer;  (310)  358- 
3273;  fax:  358-3272;  screamfestla@aol.com; 
www.screamfestla.com. 

SEATTLE  LESBIAN  &  GAY  FILM  FESTIVAL,  Oct 

14-23,  WA.  Deadline:  June  1;  July  1  (final). 
The  Pacific  Northwest's  premier  queer  film 
fest,  committed  to  screening  the  best  in  les- 
bian, gay,  bisexual  &  transgender  film/video. 
Produced  by  Three  Dollar  Bill  Cinema,  whose 
mission  is  to  provide  community  access  to 
queei_cinema  &  a  venue  for  queer  filmmak- 
ers to  sho  a-  their  work.  Founded:  1 995.  Cats: 
Feature,  Short,  Experimental,  doc,  anima- 
tion. Formats:  35mm,  16mm,  1/2",  Beta  SP. 
Preview  on  VHS  or  DVD.  Entry  Fee:  $1 0;  $1 5 
(final).  Contact:  Jason  Plourde;  (206)  323- 
4274;  fax:  323-4275;  programming@seattle 
queerfilm.com;  www.seattlequeerfilm.com. 

SHRIEKFEST-THE  LOS  ANGELES  INT'L 
HORROR  FILM  FESTIVAL,    Oct     11-12,    CA 

Deadline:  March  12;  May  28;  June  25  (final). 


Shriekfest,  the  annual  Los  Angeles  Horror 
Film  Festival  is  held  at  Raleigh  Studios  in 
Hollywood.  The  fest  focuses  on  the  horror 
film  genre  &  the  work  of  young  filmmakers 
(18  &  under).  The  fest  "screens  the  best 
independent  horror  films  of  the  year."  Cats: 
feature,  doc  (about  the  horror  genre),  short, 
script,  Young  Filmmaker  (under  18),  youth 
media.  Entry  Fee:  $20-$55.  Contact: 
Shriekfest  Film  Festival;  Shriekfest@aol.com; 
www.shriekfest.com. 

STARZ  DENVER  INT'L  FILM  FESTIVAL,  Nov  10- 

20,  CO.  Deadline:  July  15.  Annual  invitational 
expo  of  film  presents  approx.  200  films  over 
1 1  days  &  plays  host  to  more  than  125  film 
artists.  Founded:  1978.  Cats:  feature,  doc, 
animation,  experimental,  children,  short, 
family,  student.  Formats:  35mm,  16mm, 
video.  Preview  on  VHS  (NTSC/PAL)  or  DVD. 
Entry  Fee:  $20  (students);  $35.  Contact: 
Denver  Film  Society;  (303)  595-3456;  fax: 
595-0956;  dfs@denverfilm.org;  www.den 
verfilm.org. 

TAMPA  INT'L  LESBIAN  &  GAY  FILM  AND  VIDEO 
FESTIVAL,  October  6-16,  FL.  Deadline:  July  2. 
The  Fest  considers  all  genres  of  any  length  by, 
about  &  of  interest  to  lesbians  &  gay  men. 
Fest  is  "committed  to  presenting  culturally 
inclusive  &  diverse  programs"  of  video  &  film. 
Founded:  1991.  Cats:  Gay/Lesbian,  Any  style 
or  genre,  feature,  doc,  short.  Formats:  35mm, 
16mm,  Beta,  DVD.  Preview  on  VHS  or  DVD. 
Entry  Fee:  $10  shorts;  $20  features.  Contact: 
Manruth  Kennedy;  (813)  785-0292;  fax:  875- 
7124;  mxkennedy@aol.com; 

www.tiglff.com. 

TELLURIDE  FILM  FESTIVAL,  Sept  2  5,  CO 
Deadline:  May  1;  July  15  (final).  Annual  fest, 
held  in  a  Colorado  mountain  town,  is  a  Labor 
Day  weekend  celebration  commemorating 
the  art  of  filmmaking:  honoring  the  great 
masters  of  cinema,  discovering  the  rare  & 
unknown,  bringing  new  works  by  the  world's 
greatest  directors.  Cats:  feature,  short,  stu- 
dent, any  style  or  genre,  doc,  experimental. 
Awards:  None.  Formats:  16mm,  35mm, 
3/4",  1/2",  S-VHS,  Beta,  Beta  SP,  DigiBeta, 
Hi8,  DV,  DVD.  Preview  on  VHS  or  DVD.  Entry 
Fee:  $35  (19  mm.  or  less);  $55  (20-39  mm.); 
$75  (40-59  mm.);  $95  (60  mm.  &  over);  $25 
(student  films).  Contact:  Bill  Pence  /  Tom 
Luddy;    (603)    433-9202;    fax:    433-9206; 


June  2005  I  The  Independent  57 


mail@telluridefilmfestival.org;  www.telluride 
filmfestival.org. 

TULSA  OVERGROUND  FILM  FESTIVAL,   Aug 

19-21,  OK.  Deadline:  July  18.  Designed  to 
challenge,  inspire,  &  ultimately  showcase 
Oklahoma  filmmakers,  the  Tulsa  Overground 
emphasizes  the  unique  characters,  experi- 
ences, &  locations  that  Oklahoma  has  to 
offer.  Works  must  not  be  longer  than  20 
min.  Cats:  feature,  doc,  short,  animation, 
experimental,  any  style  or  genre.  Formats: 
1/2",  Mini-DV,  DVD.  Preview  on  VHS  or  DVD. 
Entry  Fee:  $15.  Contact:  Festival;  (918) 
585-1 223;  tulsaoverground@hotmail.com; 
www.tulsaoverground.com. 

VERMONT  INT'L  FILM  FESTIVAL,  Oct  12-16, 
VT.  Deadline:  July  1.  Fest  devoted  to  pre- 
senting images  &  issues  for  social  change. 
Categories:  War  &  Peace,  Justice/Human 
Rights  &  the  Environment.  Cats:  feature, 
doc,  short,  any  style  or  genre.  Formats: 
35mm,  Beta  SP,  1/2",  DVD.  Preview  on  VHS 
or  DVD.  Entry  Fee:  $25  (shorts,  under  30 
min.);  $45  (feature).  Contact:  VIFF;  (802)  660- 
2600;  fax:  860-9555;  info@vtiff.org; 
www.vtiff.org. 

WOODSTOCK  FILM  FESTIVAL  Oct   13  17,  NY 

Deadline:  May  15;  June  28  (final).  Annual 
nonprofit  fest  fosters  an  intimate,  reciprocal 
relationship  between  indie  filmmakers, 
industry  reps  &  audience  members  held  in 
"the  most  famous  little  town  in  the  whole 
world".  Celebrating  new  voices  of  indie  film 
w/  seminars,  workshops,  concerts  &  parties. 
Cats:  feature,  doc,  short,  music  video,  ani- 
mation, student.  Formats:  35mm,  Beta  SP, 
DigiBeta.  Preview  on  VHS.  Entry  Fee:  $25- 
$50.  Contact:  Meira  Blaustein;  (845)  679- 
4265;  info@woodstockfilmfestival.com; 
www.woodstockfilmfestival.com. 

YOUNG  PEOPLE'S  FILM  &  VIDEO  FESTIVAL 

July,  OR.  Deadline:  June  6.  Young  People's 
Film  &  Video  Festival  is  an  annual  juried  sur- 
vey of  outstanding  work  by  K-12  students 
from  the  Northwest  (OR,  WA,  ID,  MT,  UT, 
AK).  A  jury  reviews  entries  &  assembles  a 
program  for  public  presentation.  Judges' 
Certificates  are  awarded.  About  20  films  & 
videos  are  selected  each  year.  Entries  must 
have  been  made  w/in  previous  2  yrs. 
Founded:  1975.  Cats:  Student,  any  style  or 


genre.  Formats:  16mm,  S-8,  3/4",  1/2",  Hi8, 
CD-ROM,  S-VHS,  Super  8,  DV,  Mini-DV, 
DVD.  Preview  on  VHS.  Entry  Fee:  None. 
Contact:  Kristin  Konsterlie,  Festival 
Coordinator;  (503)  221-1156;  fax:  294-0874; 
kristin@nwfilm.org;  www.nwfilm.org. 

INTERNATIONAL 

ATHENS  INT'L  FILM  FESTIVAL,  Sept  16  25, 
Greece.  Deadline:  July  15.  This  fest's  aim  is 
to  reinforce  the  fest's  character,  as  a  cine- 
matographic celebration,  &  to  promote 
Athens,  as  a  capital  of  young  cinema  lovers, 
where  young  &  restless  cinematography  is 
adored.  Cats:  feature,  doc,  short,  animation. 
Formats:  16mm,  35mm,  Beta  SP.  Preview  on 
VHS.  Entry  Fee:  None.  Contact:  Athens  Int'l 
Film  Festival-  "Opening  Nights";  (011)  30 
210  6061689;  fax:  210  6014137; 
festival@pegasus.gr;  www.aiff.gr. 

BAJA  CALIFORNIA  FILM  FESTIVAL,  Oct    26- 

30,  Mexico.  Deadline:  June  30.  Fest  seeks 
works  "which  contribute  to  the  progress  of 
the  motion  picture,  television  &  video  arts  & 
encourage  the  development  of  the  industry 
throughout  the  world".  Fest  is  organized  by 
Lamia  Foundation  for  Film  Arts.  Founded: 
2004.  Cats:  feature,  short,  TV,  experimental, 
animation,  music  video,  doc,  any  style  or 
genre.  Formats:  DVD,  35mm.  Preview  on 
DVD.  Entry  Fee:  None.  Contact:  Festival;  01 1 
664  630  09  40;  direct@bajacaliforniafilm 
fest.org  ;  www.bajacaliforniafilmfest.org  . 

BEIRUT  CINEMA  DAYS,  Sept  15-25, 
Lebanon.  Deadline:  June  15.  A  non-competi- 
tive Arab  film  fest  that  shows  films  from  or 
about  the  Arab  world.  Founded:  2001.  Cats: 
feature,  doc,  short,  animation,  experimental, 
any  style  or  genre.  Formats:  35mm,  Beta  SP, 
DVD.  Preview  on  VHS  or  DVD.  Entry  Fee: 
None.  Contact:  Eliane  Raheb,  Hania  Mroueh; 
011  961  1  293212;  beirutdc@mco.com. lb. 

BORDEAUX  INT'L  FESTIVAL  OF  WOMEN  IN 
CINEMA,  Oct.  3-9,  France.  Deadline:  June  15 
(shorts),  July  31  (features).  This  Festival  is 
designed  &  catered  to  the  women  filmmak- 
ers. The  Festival  aims  to  bring  together  inno- 
vative films  from  women  &  to  recognize  the 
achievements  of  female  filmmakers.  Cats: 
feature,  short.  Formats:  35mm,  Beta  SP  Pal. 
Preview  on  VHS.  Entry  Fee:  None.  Contact: 


Festival  Int'l  du  Cinema  au  Feminin;  (01 1)  33 
1  56  36  15  01;  s.wiemann@cinemafe 
minin.com;  www.cinemafeminin.com. 

CINEKID,  October  22-30,  Netherlands. 
Deadline:  July  1 .  Visited  by  more  than  37.000 
children  &  int'l  professionals,  this  fest  aims 
to  kindle  inspiration  &  love  of  film  in  children. 
Cats:  feature,  doc,  short,  animation. 
Formats:  DVD,  VHS,  DigiBeta  PAL,  CD-ROM, 
35mm,  70mm,  16mm,  Beta  SP.  Preview  on 
VHS,  CD-ROM  or  DVD.  Entry  Fee:  None.. 
Contact:  Festival;  011  +31(0)20  531  78  90; 
fax:  01 1  +31(0)20  531  78  99;  info@cinekid.nl; 
www.cinekid.nl. 

FANTASTISK  FILM  FESTIVAL:  LUND  INT'L  FILM 
FESTIVAL,  Sept.  16-25,  Sweden.  Deadline: 
July  30.  The  only  int'l  film  fest  in  Scandinavia 
totally  devoted  to  the  cinema  of  the  fantas- 
tic: science-fiction,  fantasy,  horror,  &  thriller. 
Cats:  feature,  doc,  short,  animation. 
Formats:  16mm,  35mm,  DV  (PAL),  Beta  SP 
(PAL).  Preview  on  VHS  (PAL  or  NTSC)  or 
DVD.  Entry  Fee:  None  (shorts  have  to  pay 
their  own  freight).  Contact:  Mats-Ola 
Nilsson;  01 1  46  46  132  135;  fax:  01 1  46  46 
132  139;  info@fff.se;  www.fff.se. 

FILM  SOUTH  ASIA,  Sept  27  Oct  2,  Nepal 
Deadline:  June  30.  Fest,  located  in 
Kathmandu,  offers  both  competitive  &  non- 
competitive cats  for  docs  on  South  Asian 
subjects  made  after  Jan.  1  of  pervious  year. 
Full-length  docs  given  preference.  Selected 
films  may  tour  South  Asia  &  the  world. 
Cats:  doc.  Formats:  Beta  SP,  mini-DV,  DV 
Cam.  Preview  on  VHS  or  DVD.  Entry 
Fee:  None.  Contact:  Film  South  Asia;  01 1 
977  1  542  544;  fax:  977  1  541  196; 
fsa@himal  association.org;  www.himalassoc 
iation.org/fsa. 

INTERFILM  BERLIN  INT  L  SHORT  FILM 
FESTIVAL  BERLIN,  Nov.  1-6,  Germany. 
Deadline:  July  16.  Fest  is  the  int'l  short  film 
event  of  Berlin.  Films  &  videos  no  longer  than 
20  mm.  are  eligible.  No  limit  for  yr.  of  produc- 
tion. Founded:  1982.  Cats:  doc,  short,  anima- 
tion, experimental,  children.  Awards:  15  prizes 
in  various  cats.  Formats:  35mm,  16mm,  Beta 
SP.  Preview  on  VHS  (PAL/SECAM/NTSC)  or 
DVD.  No  fee.  Contact:  Heinz  Hermanns;  011 
49  30  693  29  59;  fax:  49  30  693  29  59;  festi 
val@interfilm.de;  www.interfilm.de. 


58  The  Independent  I  June  2005 


INVIDEO  Nov.  9-13,  Italy.  Deadline:  June  17. 
Formats:  Beta  SP,  DVD.  Preview  on  VHS. 
Entry  Fee:  None.  Contact:  A.  I.  ACE./ 
INVIDEO;  01 1  39  2  761  1 53  94;  fax:  752  801 
19;  info@mostrainvideo.com;  www.mosrain 
video.com. 

LES  ECRANS  DE  LAVENTURE/INT'L  FESTIVAL 
OF  ADVENTURE  FILM,  Oct  14  16,  France 
Deadline:  July  15.  Held  in  Dijon,  fest  is  a 
showcase  for  recent  adventure-themed 
docs.  Cats:  doc,  children.  Formats:  Beta  SP 
(PAL).  Preview  on  VHS  (PAL,  Secam)  or  DVD. 
Entry  Fee:  None.  Contact:  Geo  Poussier; 
01 1  33  1  43  26  97  52;  fax:  33  1  46  34  75  45; 
aventure@la-guilde.org. 

LOCARNO  INTERNATIONAL  FILM  FESTIVAL, 

August  3-1 3,  Switzerland.  Deadline:  June  15. 
This  maior  Swiss  cultural/cinematic  all-fea- 
ture event,  is  known  for  its  innovative  pro- 
gramming &  support  of  alternative  visions 
from  independent  directors.  Competition  is 
reserved  for  full-length  features  in  general, 
from  those  directed  by  new  directors  to 
those  realized  by  more  experienced  filmmak- 
ers from  all  over  the  world.  Entries  must 
have  been  completed  w/in  previous  yr. 
Preferences  for  all  sections  given  to  world  or 
European  premieres.  Two  representatives  of 
each  competition  film  are  brought  in  by  the 
Festival  for  5  days.  Founded:  1948.  Cats:  fea- 
ture, doc,  short,  animation,  experimental, 
student.  Formats:  35mm,  16mm,  Beta. 
Preview  on  VHS.  Entry  Fee:  None.  Contact: 
Irene  Bignardi,  Festival  Director;  011  41  91 
756  2121;  fax:  41  91  756  2149; 
info@pardo.ch;  www.pardo.ch. 

LONDON  FILM  FESTIVAL,  Oct    19      Nov    3, 

UK.  Deadline:  July  15.  Fest,  run  continuously 
since  1957,  is  Europe's  largest  non-competi- 
tive, invitational  fest.  180  int'l  features  &  100 
short  films  showcased.  Entries  must  be  UK 
premieres,  produced  w/in  preceding  18 
months.  Fiction  &  doc  works  of  all  lengths  & 
genres  accepted.  Founded:  1957.  Cats: 
short,  animation,  feature,  doc,  any  style  or 
genre,  children.  Formats:  35mm,  16mm, 
8mm,  3/4",  super  8,  70mm.  Preview  on 
VHS.  Entry  Fee:  None.  Contact:  Sarah 
Lutton;  011  44  20  7815  1322;  fax:  44  20 
7633  0786;  sarah. lutton  ©bfi.org.uk; 
www.lff.org.uk. 


MONTREAL  WORLD  FILM  FESTIVAL,  Aug   25 

Sept.  5,  Canada  .  Deadline:  June  23  (shorts); 
July  30  (Features).  Large  &  mt'ly  known  fest 
boasts  audiences  of  over  700,000  &  pro- 
grams hundreds  of  films.  Features  in  compe- 
tition must  be  prod  in  12  months  preceding 
fest,  not  released  commercially  outside  of 
country  of  origin  &  not  entered  in  any  com- 
petitive int'l  film  fest  (unreleased  films  given 
priority).  Shorts  must  be  70mm  or  35mm  & 
must  not  exceed  15  mm.  Founded:  1977. 
Cats:  feature,  short,  any  style  or  genre. 
Formats:  35mm,  70mm,  DVD,  Video. 
Preview  on  VHS.  Entry  Fee:  none.  Contact: 
Serge  Losique,  Fest  Dir.;  (514)  848-3883; 
848-9933;  fax:  848-3886;  info@ffm-montre 
al.org;  www.ffm-montreal.org. 

NETHERLANDS  FILM  FESTIVAL,  Sept  28-Oct. 
7,  The  Netherlands.  Deadline:  June  15. 
Annual  fest  is  a  nat'l  film  fest  &  ONLY  Dutch 
films  can  be  entered.  Fest  has  a  small 
Foreign  Affairs  section,  for  which  foreign 
films  w/a  considerable  Dutch  aspect  (actors, 
director,  producers,  subject,  etc.)  will  be 
invited.  Cats:  feature,  short,  doc,  TV.  Preview 
on  VHS.  Entry  Fee:  None.  Contact:  Ellis 
Dnessem;  011  31  30  230  3800;  fax:  31  30 
230  3801;  hfm@filmfestival.nl;  www.filmfes 
tival.nl. 

RAINDANCE  FILM  FESTIVAL,  Sept  28-Oct  9, 
UK.  Deadline:  June  1;  July  1  (final).  The  fest 
aims  to  "reflect  the  cultural,  visual  &  narra- 
tive diversity  of  the  int'l  independent  film- 
making community"  &  specializes  in  films  by 
first-time  directors.  Cats:  short,  animation, 
experimental,  doc,  music  video,  feature. 
Formats:  35mm,  DigiBeta,  Beta  SP,  DV 
Preview  on  VHS.  Entry  Fee:  shorts:  15 
pounds,  features:  50  pounds;  shorts  (final): 
$20  pounds,  features  (final):  75  pounds-  all 
payments  in  Pounds  Sterling.  Contact: 
Festival;  011  44  171  287  3833;  fax:  011  44 
171  439  2243;  festival@raindance.co.uk; 
www.raindance.co.uk. 

SIENA  INT'L  SHORT  FILM  FESTIVAL,  Nov   18 

26,  Italy.  Deadline:  July  1.  Fest,  held  in  con- 
junction w/  Short  Film  Market,  offering  five 
competitions:  fiction,  experimental,  doc,  ani- 
mated films  &  Italian  Panorama.  All  films 
must  be  30  min.  or  less  &  have  been  pro- 
duced in  the  last  2  years.  No  advertising  or 
industrial   films   accepted   for   competition. 


Cats:  feature,  animation,  doc,  short,  experi- 
mental. Formats:  35mm,  Beta  SP.  Preview 
on  VHS  or  DVD.  Entry  Fee:  None.  Contact: 
Festival  del  Cortometraggio  di  Siena  c/o 
Filmclub  Associati;  01 1  39  06  474  5585;  fax: 
39  06  478  85799;  festival@cortoitaliacine 
ma.com;  www.cortoitaliacinema.com. 

VANCOUVER  INT'L  FILM  FESTIVAL,  Sept  29 
Oct.  14,  Canada.  Deadline:  June  15 
(Canadian);  July  5  (Int'l).  Fest  presents  300 
films  from  50  countries  at  8  cinemas  over  16 
days  &  has  become  one  of  N.  America's  larg- 
er int'l  tests  (after  Montreal  &  Toronto).  Cats: 
any  style  or  genre,  doc,  feature,  short. 
Formats:  35mm,  16mm,  70mm,  3/4",  1/2", 
Beta,  Beta  SP,  DigiBeta,  DV,  DVD.  Preview 
on  VHS.  Entry  Fee:  $50  ($30  U.S.,  non- 
Canadian  only).  Contact:  PoChu  AuYeung, 
Program  Manager;  (604)  685-0260;  fax:  688- 
8221;  viff@viff.org;  www.viff.org. 

VENICE  INT'L  FILM  FESTIVAL,  Aug  31-Sept 
10,  Italy.  Deadline:  June  30.  Fest  is  one  of 
the  most  prestigious  in  the  world  w/  several 
int'l  sections.  Competitive  Venice59  &  other 
sections  to  be  confirmed.  Founded:  1932. 
Cats:  feature,  doc,  short,  animation,  retro. 
Formats:  35mm,  16mm,  Beta  SP, 
Experimental  film  sections  also  accepts  BVU 
&  Betacam  video,  Beta,  DigiBeta.  Preview 
on  VHS.  Entry  Fee:  None.  Contact:  La 
Biennale  di  Venezia  Dept.  of  Cinema;  01 1 
390  41  521  8711;  fax:  390  41  522  7539;  cm 
ema@labiennale.org;  www.labiennale.org. 

ZIMBABWE  INT'L  FILM  FESTIVAL,  Aug    26 

Sept.  4,  Zimbabwe.  Deadline:  June  13. 
Festival  is  an  annual  project  of  the  Zimbabwe 
Int'l  Film  Festival  Trust  (ZIFFT),  a  non-profit 
arts  &  cultural  trust  registered  w/  the  Nat'l 
Arts  Council  of  Zimbabwe.  Cats:  feature, 
doc,  short.  Formats:  35mm,  Beta,  DVD. 
Preview  on  VHS.  Entry  Fee:  None.  Contact: 
Festival;  01 1  263  4  730  361 ;  fax:  4  73  48  84; 
zimfilmfest@zol.co.zw;        www.ziff.co.zw. 


More  festival 

listings  at 

www.aivf.org 


June  2005  I  The  Independent  59 


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BUY  I  RENT  I  SELL 

ARCHIVAL  FOOTAGE  AT  LOW  PRICES.  NO 
RESTRICTIONS  Offering  a  High  Quality, 
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spanning  the  20th  Century  at  prices  inde- 
pendent producers  can  afford.  Footage  Farm 
(888)    270-1414;    www.footagefarm.com. 

CAMERA    RENTALS    FOR    LOW    BUDGETS 

Production  Junction  is  owned  &  operated  by 
a  fellow  independent.  Cameras,  Lights, 
Mies,  Decks,  etc.  Equipment  &  prices  at 
www.ProductionJunction.com. 
Email:Chns@ProductionJunction.com  or  call 
(917)  288-9000. 

DIGIBETA/BETA-SP  DECKS  FOR  RENT  Best 
Prices  in  NYC!  Transfer  to  DVD  only  $40. 
VHS  dubs.  DVCAM  decks  &  camera  pack- 
ages by  day/week/month.  1:1  Meridian  Avid 
suite  &  MC4000  suite.  Production  office 
space,  too!  Call  Production  Central  (212) 
631-0435,  www.prodcentral.com. 


UNION  SQUARE  AREA  STAGE  RENTALS,  pro- 
duction space,  Digibeta,  Beta  SP,  DVCAM, 
mini-DV,  hi-8,  24-P,  projectors,  grip,  lights, 
dubs,  deck  and  camera  rentals. 
Uncompressed  Avid  and  FCP  suites,  too. 
Production  Central  (212)  631-0435. 

DISTRIBUTION 

AQUARIUS  HEALTH  CARE  VIDEOS  is  the  lead 
ing  Distributor/Producer  of  documentary 
films  on  health  care  issues.  Our  programs 
are  educational  and  inspirational  and  focus 
on  life  challenging  situations.  We  are  cur- 
rently seeking  additional  films  to  add  to  our 
award  winning  collection.  Our  strong,  target- 
ed marketing  program  will  increase  aware- 
ness and  sales  for  you.  Please  send  a  pre- 
view vhs  or  DVD  to  Aquarius  Health  Care 
Videos,  18  North  Main  Street,  Sherborn,  MA 
01770  or  call  (888)  440-2963,  lbk@aquarius 
productions.com. 

FANLIGHT  PRODUCTIONS  20+  years  as  an 
industry  leader!  Join  more  than  100  award- 


winning  film  &  video  producers.  Send  us 
your  new  works  on  healthcare,  mental 
health,  aging,  disabilities,  and  related  issues. 
(800)  937-4113;  www.fanlight.com. 

THE  CINEMA  GUILD,  leading  film/video/multi- 
media distributor,  seeks  new  doc,  fiction, 
educational  &  animation  programs  for  distri- 
bution. Send  videocassettes  or  discs  for 
evaluation  to:  The  Cinema  Guild,  130 
Madison  Ave.,  2nd  fl„  New  York,  NY  10016; 
(212)  685-6242;  info@cinemaguild.com;  Ask 
for    our    Distribution    Services    brochure. 

FREELANCE 

35MM  &  16MM  PROD.  PKG.  W/  DP  Complete 
package  w/  DP's  own  Am  35BL,  16SR, 
HMIs,  lighting,  dolly,  Tulip  crane,  camjib, 
DAT,  grip  &  5-ton  truck,  more.  Call  for  reel: 
Tom  Agnello  (201)  741-4367;  roadtoindy 
I. com. 


ACCOUNTANT/BOOKKEEPER/CONTROLLER: 

Experience   in   both   corporate   &   nonprofit 


60  The  Independent  I  June  2005 


sectors.  Hold  MBA  in  Marketing  & 
Accounting.  Freelance  work  sought.  Sam 
Sagenkahn  (917)  374-2464. 

ARE  YOU  STUCK?  FERNANDA  ROSSI,  script  & 

documentary  doctor,  specializes  in  narrative 
structure  in  all  stages  of  the  filmmaking 
process,  including  story  development, 
fundraising  trailers  and  post-production.  She 
has  doctored  over  30  films  and  is  the  author 
of  Trailer  Mechanics.  For  private  consulta- 
tions and  workshops  visit  www.documen 
tarydoctor.com  or  write  to  info@documen 
tarydoctor.com. 

CAMERAMAN/STEADICAM  OPERATOR 

Owner  Steadicam,  Am  35  BL,  Am  16  SR, 
Beta  SP,  Stereo  TC  Nagra  4,  TC  Fostex  PD-4 
DAT,  lighting  packages  to  shoot  features, 
music  videos,  commercials,  etc.  Call  Mik 
Cribben  for  info  &  reel,  (212)  929-7728  in  NY 
or  800-235-2713  in  Miami. 

COMPOSER  MIRIAM  CUTLEr  loves  to  collabo 
rate  -  docs,  features.  Lost  In  La  Mancha/IFC, 


Scout's  Honor,   Licensed  To  Kill,   Pandemic:  - 
Facing  Aids/HBO,  Indian  Point/HBO,  Positively 
Naked/HBO,  Stolen  Childhoodsa,  Amy's  O  & 
more.    (310)    398-5985;    email    mir.cut@ver : 
izon.net.  www.miriamcutler.com. 

COMPOSER:  Original  music  for  your  film  or 
video  project.  Will  workwith  any  budget. 
Complete  digital  studio.  NYC  area.  Demo  CD 
upon  request.  Call  Ian  O'Brien:  (201)  222- 
2638;  iobrien@bellatlantic.net. 

DP  WITH  ARRI  SR  SUPER  16/16MM  AND  35BL 
2  CAMERA  PACKAGES.  Expertlighting  and 
camerawork  for  independent  films,  music 
videos,  etc.  Superb  results  on  a  short  sched- 
ule and  low  budget.  Great  prices.  Willing  to 
travel.  Matthew  617-244-6730 

DIGITAL  DP/CAMERA  OPERATOR:  with  a  Sony 
DSR-500WSL/1  camera  package.  Electronic 
Cinematography,  documentary,  independent 
friendly,  reasonable  rates.  Full  Screen/Wide 
Screen-(4:3/16:9).  For  reel,  rate  &  info  call: 
(516)783-5790. 


FREELANCE  CAMERA  GROUP  IN  NYC  seeking 
professional  cameramen  and  soundmen  w/ 
solid  Betacam  experience  to  work  w/  wide 
array  of  clients.  If  qualified,  contact  COA  at 
(212)  505-1911.  Must  have  documentary/ 
news  samples  or  reel. 

FUNDRAISING/GRANTWRITING/PROJECT 
DEVELOPMENT  Research,  writing  &  strategy 
for  production,  distribution,  exhibition  &  edu- 
cational media  Successful  proposals  to 
NYSCA,  NEA,  Sundance,  ITVS,  Rockefeller 
Foundation,  Robeson  Foundation.  Fast 
writers,  reasonable  rates.  Wanda  Bershen, 
(212)  598-0224;  ww.reddiaper.com. 

NEW  MUSIC  PRODUCTION  COMPANY  with 
many  years  combined  composing  experience. 
Audioreel  provides  all  the  services  that  you 
may  require  for  your  production,  from  scoring 
to  picture,  too  flash  music  for  websites. 

SOUND  RECORDIST  /  PLAYBACK  OP  available 
for  Features,  Music  Videos,  and  Corporate. 
Equipment-  Dat  /  Nagra  (time  code),  5  wire- 


June  2005  I  The  Independent  61 


Need  an  audience? 

Here  is  a  tool  to  help: 

The  aivf  Film  and  Video 
EXHIBITORS  GUIDE 

edited  by  Kathryn  Bowser, 
updated  by  Rania  Richardson 

New  Edition  Just  Released! 


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•  helpful  tips  for  submitting 

work  to  venues 

•  details  on  various  exhibitor's 

programming  focus 

. . .  plus  additional  screening  venues 
from  theatrical  to  microcinema. 

The  Exhibitors  Guide  is  the  most 

comprehensive  resource  for  getting  your 

work  into  public  spaces.  It  has  current 

information  on  over  f  ,000  exhibition  venues 

in  the  US,  from  coffeehouses  to  corporate 

multiplexes.  Venue  profiles,  technical 

specifications,  and  contact  information 

provide  a  leg  up  towards  the  daunting 

task  of  bringing  your  work  to  the  public. 


Order  online  at 
www.aivf.org  or  call 
(212)807-1400x303. 


less  mics,  mixers,  playback  speakers,  smart 
slate,  comteks,  cart:  Mike  S.  (212)  620-0084 

STEADICAM  OPERATOR  NY  based,  expen 
enced  and  professional.  Top  of  the  line  equip- 
ment: TB-6  monitor,2xBFD  Follow  Focus/ 
Aperture,  Modulus.  35mm,  16mm,  HD, 
BetaSP.  Call  George  @  212-620-0084. 

OPPORTUNITIES  I  GIGS 

50  WAYS  TO  IMPROVE  YOUR  VIDEO  BUSI- 
NESS. FREE  REPORT  Grow  a  successful 
video  business  in  Legal,  Wedding, 
Corporate,  TV  and  more.  http://videouni 
versity.com/50web.htm. 

DHTV,  a  progressive,  nonprofit  community 
media  center  and  TV  station  in  St.  Louis, 
MO  seeks  works  by  indie  producers.  Half 
hour  and  1  hour  lengths.  S-VHS  accepted, 
DVD  preferred.  Nonexclusive  rights 
release  upon  acceptance.  No  pay  but 
exposure  to  60,000  cable  households. 
Contact  Mariah  Richardson,  dhTV,  625  N. 
Euclid,  St.  Louis,  MO  63108,  (314)  361- 
8870  x230,  manah@dhtv.org. 

LOOKING  FOR  A  GREAT  STORY  SET  IN  THE 
HEARTLAND?  See  How  High  Is  A  Robin's 
Nest?  At  www.pftrights.com. 

THE  QUITTAPAHILLA  FILM  FESTIVAL  is  looking 
for  features,  shorts  and  documentaries  for 
its  Sept.  30-Oct  2,  2005  juried  festival.  See 
full  details  for  entry  at  our  website: 
www.qfilms.org.  Send  submissions  on  VHS 
or  DVD  to:  Attn.  QFF,  c/o  The  Allen  Theatre, 
36  E.  Main  Street,  Annville,  PA  17003. 
Postmark  entries  by  July  1,  2005.  Entry  fee 
is  $25. 

POSTPRODUCTION 


AUDIO  POST  PRODUCTION:  Full  service  audio 
post-production  facility.  Mix-to-picture,  ADR, 
voice-over,  sound  design  &  editing.  Features, 
shorts,  docs,  TV  &  Radio.  Contact  Andy,  All 
Ears  Inc:  (718)  399-6668  (718)  496-9066 
andy@allearspost.com. 

BRODSKY  &  TREADWAY:  film-to-tape  trans- 
fers, wet-gate,  scene-by-scene,  reversal  film 
only.  Camera  original  Regular  8mm,  Super  8, 


and  16mm.  For  appt.  call  (978)  948-7985. 

CERTIFIED  FINAL  CUT  PRO  INSTRUCTOR  AND 
EDITOR:  DV  and  Beta  SP  -  Learn  Final  Cut  Pro 
from  professional  editor  and  Apple  Certified 
instructor.  Log  onto  our  website: 
www.HighNoonprod.com  or  call  (917)  523- 
6260:  e-mail  lnfo@HighNoonProd.com. 

NEGATIVE  CUTTING  FOR  FEATURES  SHORT 
FILMS  ETC.  Expert  conforming  of  35mm, 
Super  16  or  16mm  negative  to  work  print  or 
Avid  cut  list.  Superb  quality  work  and 
absolutely  clean  cuts.  Great  prices.  Matthew 
617-244-6730;  mwdp@att.net. 

PRODUCTION  TRANSCRIPTS  Verbatim  tran- 
scription service  for  documentaries, 
journalists,  film,  and  video.  Low  prices  &  flat 
rates  based  on  tape  length,  www.produc 
tiontranscripts.com  for  details  or  call:  (888) 
349-3022. 

PREPRODUCTION  I 
DEVELOPMENT 

MAUREEN  NOLAN:  W7  8  years  Miramax 
experience,  script/story/creative  consultant 
offers  a  full  range  of  consulting  services  for 
writers  and  filmmakers.  Script  consults, 
coaching,  story  development,  rewrites,  etc. 
212-663-9389  or  917-620-6502. 


Free  Project  Evaluation 


244  Fifth  Avenne  Suite  u  2518.  NY.  NY.  10001 


WEB 

WEB  SITE  DESIGNER:  Create  multimedia  web 
sites,  integrating  video,  sound,  and  special 
effects,  that  promote  your  films  and/or  your 
company,  www.____________design.com. 
Info:  ______  ______,  phone:  ___-___-____, 
email:  ______@______.net 


62    The  Independent  I  June  2005 


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COMPETITIONS 

2005  SANTA  BARBARA  SCRIPT  COMPETITION 

seeks  submissions.  Entry  fee  $40.  Grand 
Prize  $2000  Option,  First  Prize  $750.  All 
winners  will  also  receive  screenwnting 
related  books,  materials  and  or  software. 
Special  Cash  Award  for  Regional  Writer  to 
be  awarded  to  a  South  Coast  Resident. 
(Santa  Barbara,  Ventura,  San  Luis  Obispo 
counties  in  California).  Regular  submission 
deadline  is  June  30th  and  late  is  July  31. 
Contact:  Geoff@santabarbarascript.com 
or  visit  www.santabarbarascript.com. 

BUSINESS  FILMS  ELAN  announces  new 
screenplay  contest:  $1000  Feature-length 
Screenplay  Contest  —  Deadline:  June  15, 
2005  —  Entry  is  free  and  winning  films  will 
be  slotted  for  production.  For  more  infor- 
mation and  submission  guidelines,  please 
go  to:  www.businessfilm.com/business 
filmelan.html. 

CONFERENCES  I   WORKSHOPS 

INTERACTIVE  PROJECT  LAB  BANFF  NEW 
MEDIA      INSTITUTE      WORKSHOP       The 

Interactive  Project  Lab  (IPL)  is  a  unique 


alliance  of  knowledge, resources  and  fund- 
ing that  accelerates  the  creative,  business 
and  technology  skills  of  Canadian  interac- 
tive media  talent,  fostering  the  creation 
ofinnovative  projects  and  viable  start-up 
new  media  companies.  Focused  on  the 
production  of  interactive  cultural  and 
entertainment  works,  the  IPL  offers  a 
series  of  opportunities  for  interactive 
media  producers  and  projects  including: 
Prototype  Acceleration  Programs, 
Intensive  Development  Clinics,  Funding 
Resources,  Professional  International 
Mentorship.  For  more  information,  please 
contact  Caitlin  O'Donovan,  IPL  Program 
Coordinator,  at  416.445.1446  ext.  251  or 
info@iplab.ca. 

PUBLICATIONS 

DATABASE  &  DIRECTORY  OF  LATIN  AMERI- 
CAN FILM  &  VIDEO,  organized  by  Int'l  Media 
Resources  Exchange,  seeks  works  by 
Latin  American  &  US  Latino  ind.  produc- 
ers. To  send  work  or  for  info,  contact 
Roselly  Torres,  LAVA,  124  Washington  PL, 
NY,  NY  10014;  (212)  463-0108; 
imre@igc.org. 


RESOURCES  FUNDS 

ARTHUR  VINING  DAVIS  FOUNDATION  pro- 
vides completion  funding  for  educational 
series  assured  of  airing  nat'lly  on  PBS. 
Children's  series  are  of  particular  interest. 
Consideration  will  also  be  given  to  innova- 
tive uses  of  public  TV,  including  computer 
online  efforts,  to  enhance  educational  out- 
reach in  schools  &  communities.  Funding 
for  research  and  preproduction  is  rarely 
supported.  Recent  production  grants  have 
ranged  from  $100,000  to  $400,000. 
Proposal  guidelines  available  on  website. 
Contact  Dr.  Jonathan  T.  Howe,  Arthur 
Vining  Davis  Foundation,  225  Water 
Street,  Suite  1510,  Jacksonville,  FL 
32202-51 85;  arthurvinmg@bellsouth.net; 
www.jvm.com/davis. 

ARTISTS'  FELLOWSHIPS  are  $7,000  cash 
awards  made  to  individual  originating 
artists  living  and  working  in  the  state  of 
New  York  for  use  in  career  development. 
Grants  are  awarded  in  16  artistic  disci- 
plines, with  applications  accepted  in  eight 
categories  each  year.  The  next  deadline 
for  Artists'  Fellowships  is  Monday, 
October  3,  2005.   At  that  time  we  will  be 


June  2005  I  The  Independent  63 


accepting  applications  in  the  following  cat- 
egories: Architecture  /Environmental 
Structures,  Choreography,  Fiction,  Music 
Composition,  Painting,  Photography, 
Playwriting  /Screenwriting,  and  Video.  To 
learn  more  about  Artists'  Fellowships  visit 
our  website  at:  www.nyfa.org/afp. 
Applications  for  the  remaining  categories: 
Computer  Arts,  Crafts,  Film,  Non- 
fiction  Literature,  Performance,  Art/ 
Multidisciplinary  Work,  Poetry,  Printmaking 
Drawing/Artists'  Books,  and  Sculpture-will 
be  accepted  in  early  October  2006. 

EXPERIMENTAL  TELEVISION  CENTER  PRESEN- 
TATION FUNDS  award  up  to  $1,000  each 
year  to  nonprofit  media  arts  organizations 
in  New  York  State.  Funds  must  go  to  fees 
to  artists  for  in-person  presentations  of 
film,  electronic  media,  sonic  art,  and  art 
using  new  technologies  and  the  internet. 
Electronic  music  &  work  that's  primarily 
commercial,  instructional,  educational,  or 
promotional  not  considered.  For  more  info, 
call  program  director  Sherry  Miller  Hocking, 
(607)  687-4341;  etc@expenmentaltvcen 
ter.org;  www.experimentaltvcenter.org. 

MEDIA  ARTS  TECHNICAL  ASSISTANCE  FUND 

is  designed  to  help  non-profit  media  arts 
programs  in  New  York  State  stabilize, 
strengthen  or  restructure  their  media  arts 
organizational  capacity,  services  and  activ- 
ities. The  fund  will  provide  up  to  $2,000 
per  project  to  organizations  which  receive 
support  from  NYSCA's  Electronic  Media 
and  Film  program.  The  Media  Arts 
Technical  Assistance  fund  can  assist  with 
the  hiring  of  consultants  or  other  activities 
which  contribute  to  organizational,  man- 
agement and  programming  issues  which 
influence  the  media  arts  activities.  Contact 
Sherry  Miller  Hocking,  Program  Director  at 
Experimental  Television  Center  deadlines 
for  application  are  January  1 ,  2005;  April  1 , 
July  1,  and  October  1. 

NEA  INTERNATIONAL  DIGITAL  FILM-MAKER 
RESIDENCY  2005  Application  Deadline:  in- 
hand  June  16,  2005  This  four  week 
National  Endowment  for  the  Arts  funded 
residency  offers  one  month  unlimited 
access  to  16mm  production  and  post-pro- 
duction systems,  the  G4  Final  Cut  Pro  dig- 
ital editing  system  and  digital  video  cam- 


eras. The  month-long  residency  includes 
lodging  in  a  funky,  nearby  hotel,  travel,  and 
a  $1000  artist's  stipend  paid  in  two  install- 
ments. This  Artist's  Residency  is  directed 
toward  experimental  filmmakers  who  are 
interested  in  using  new  technologies  but 
lack  the  resources  for  access  and  training. 
In  addition  to  the  artist  completing  and 
exhibiting  at  least  one  new  work,  the 
terms  of  the  residency  include  teaching 
one  local  workshop  (4  -  8  hours)  on  any 
topic  related  to  media  art  and  curating  one 
evening  screening  of  films  /  videos  which 
relate  to  the  resident's  own  creative 
investigations.  The  selected  artist  will 
be  notified  by  June  30,  2005  and  may 
fulfill  the  terms  of  the  residency  between 
August  and  November  2005.  Unfortun- 
ately, full-time  students  are  ineligible  to 
apply  for  the  residencies.  Call,  email,  or 
drop  in  for  an  application  form  and  guide- 
lines. Go  to  www.squeaky.org/  opportuni- 
ties.html  to  download  the  application 
form,  or  contact  us  to  send  you  one.  Send 
Application  to  Attn:  NEA  Digital  Filmmaker 
Residency,  Squeaky  Wheel,  175 
Elmwood,  Buffalo,  NY  14201. 

MICROCINEMA  SCREENINGS 

DAHLIAS  FLIX  &  MIX,  a  weekly  showcase 
of  new  film  &  music  held  on  Tuesdays  at 
NY's  Sugar,  is  seeking  submissions. 
Showcases  fresh  and  previously  undistrib- 
uted film  &  video  work,  as  well  as  DJs 
spinning  great  music.  No  guest  list,  cover 
charge,  or  submission  fee.  Contact 
dsmith@independentfilm.com  or  stop  by 
Sugar  any  Tuesday  evening  (doors  open 
7pm,  screenings  begin  8pm).  Send  sub- 
missions: a  VHS  or  DVD  copy  and  a  brief 
synopsis  to:  Dahlia  Smith,  c/o  SUGAR, 
31 1  Church  St.,  New  York,  NY  1 001 3. 

TOURING  PROGRAMS 

THE  HIP  HOP  FILM  FEST  TOUR  is  an  ongoing 
event  hitting  major  cities  &  cultural 
centers  on  a  global  level.  Organizers  are 
indie  filmmakers  looking  to  share  their 
visual  documents  of  the  vibrant  Hip  Hop 
culture  and  connect  with  other  mediamak- 
ers.  Deadline:  Ongoing.  Visit  www.hiphop 
filmfest.com  or  email  lnfo@HipHop 
FilmFest.com,  or  call  (415)  424-0987. 


BROADCAST  CABLECAST 

AXELGREASE,  Buffalo  cable  access  pro- 
gram of  experimental  film  &  video  under 
28  min.  Send  vhs,  svhs,  [mini]  dv,  labeled 
w/  name,  address,  title,  length,  additional 
info  &  SASE  for  tape  return  to:  Squeaky 
Wheel,  175  Elmwood  Ave.,  Buffalo, 
NY  14201;  (718)  884-7172;  office® 
squeaky.org;  www.squeaky.org. 

INDUSTRIAL  TELEVISION  Cutting-edge 
cable  access  show  now  in  its  9th  year,  is 
looking  for  experimental,  humorous, 
quirky  dramatic,  erotic,  horror/sci-fi,  ani- 
mated and  underground  works  for  inclu- 
sion in  the  new  season.  Our  program  goes 
out  to  over  140,000  Time  Warner  cable 
households  every  Sat.  night  at  midnight. 
Because  we  specifically  request  late-night 
time  slots,  we  are  allowed  to  air  "R-rated" 
content.  Controversial,  uncensored  and 
subversive  material  is  encouraged  &  given 
priority.  We  guarantee  exposure  in  the 
NYC  area.  We  accept:  DVC  Pro,  mmi-DV, 
SVHS,  VHS,  3/4"  SR  3/4",  Hi-8.  Contact: 
Edmund  Varuolo,  c/o  2droogies  produc- 
tions, Box  020206,  Staten  Island,  NY 
10302;  ed@2droogies.com;  www.industri 
altelevision.com. 

PUBLIC  BROADCASTING  SERVICE  accepts 
proposals  for  programs  &  completed  pro- 
grams by  independent  producers  aimed  at 
public  television  audiences.  Consult  PBS 
web  page  for  content  priorities  &  submis- 
sion guidelines  before  submitting.  Contact 
Cheryl  Jones,  Program  Development  & 
Independent  Film,  PBS  Headquarters, 
1320  Braddock  Place,  Alexandria,  VA 
22314;  (703)  739-5150;  fax  739-5295; 
cjones@pbs.org;  www.pbs.org/producers. 

SRS  CINEMA,  LLC  seeks  a  variety  of  differ- 
ent video  &  film  productions  for 
VHS/DVD/TV  worldwide  release.  Seeking 
feature-length  nonfiction  productions  in  all 
areas  of  the  special-interest  or  instruction- 
al fields,  cutting-edge  documentaries  & 
children  &  family  programming.  Also  seek- 
ing feature-length  fiction.  Supematural- 
themed  products  wanted,  especially 
supernatural/horror  fiction  shot  documen- 
tary style.  Contact:  Ron  Bonk,  Sub  Rosa 
Studios,  (315)  652-3868;  Email  webmas 
ter@b-movie.com;  www.b-movie.com. 


64  The  Independent  I  June  2005 


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4TH  ANNUAL  BARE  BONES  SCRIPT-2-SCREEN 
FEST  &  SCREENWRITERS  CONFERENCE  in 

Tulsa,  OK  is  looking  for  independent 
screenwriters  &  filmmakers  to  enter  com- 
petition in  variety  of  categories:  feature 
screenplays  &  movies,  short  movies  & 
screenplays,  teleplays,  trailers,  doc,  ani- 
mation, actor  monologues,  Shoot  'N  OK 
location  micro-screenplay  will  get  pro- 
duced. Submission  Deadline  for  the 
Festival,  which  will  take  place  between 
October  13-16  is  July  31,  2005.  For  more 
details  script2screenfest@yahoo.com  or 
visit  www.script2screenfilmfestival.com. 

BOXCAR,  a  screening  series  held  every 
two  months  at  the  Detroit  Film  Center,  is 
currently  seeking  submissions  of  short 
experimental  and  documentary  work. 
Send  submissions  on  mini  DV  along  with 
a  2-3  sentence  synopsis.  There  is  no  form 


or  entry  fee.  Send  work  to:  Detroit  Film 
Center,  c/o  Boxcar,  1227  Washington 
Blvd.  Detroit,  Ml  48226.  Please  include 
SASE  for  return  of  tape.  Email  boxcarcine 
ma@hotmail.com. 

CELLULOID  SOCIAL  CLUB  is  a  monthly 
screening  series  in  Vancouver  featuring 
the  best  in  independent  provocative  short 
&  feature  films  &  videos  followed  by  fun  & 
frolic.  Hosted  by  Ken  Hegan  at  the  ANZA 
Club,  #3  West  8th  Ave.,  Vancouver,  BC. 
No  minors.  Prizes  galore.  For  more  info 
call  (604)  730-8090  or  email  celluloid 
@shaw.ca;  www.CelluloidSocialClub.com. 

DREAM  SERIES:  Seeks  challenging  social- 
issue  documentaries  that  promote  frank 
community  discussions  about  issues  of 
racial  prejudice  and  social  injustice  that  fall 
under  the  Martin  Luther  King,  Jr.,  legacy. 


Selected  works  are  screened  for  this 
ongoing  monthly  series  at  the  MLK 
National  Historic  Site  in  Atlanta,  GA,  and 
promoted,  listed,  and  reviewed  in  local 
print.  Formats:  VHS,  Beta.  Send  non 
returnable  VHS  screeners  to  Exhibitions 
Curator  IMAGE  Film  &  Video  Center  535 
Means  Street,  NW,  Suite  C  Atlanta, 
Georgia  30318  or  visit  www.imagefv.org. 

FIRST  SUNDAYS  COMEDY  FILM   FESTIVAL 

Deadline:  ongoing.  A  monthly  festival  fea- 
turing the  best  in  comedy  and  short 
film/digi/animation  followed  by  an  after- 
screening  networking  event.  An  ongoing 
festival  held  the  first  Sunday  of  each 
month  at  the  Pioneer  Theater  in  New  York, 
First  Sundays  is  the  premiere  opportunity 
to  showcase  work  and  meet  talented 
directors  and  other  indie  dv/film  folk.  Cats: 
short  (under  20   mm.),   comedy,   anima- 


June  2005  I  The  Independent  65 


Don't  let  your  script  end  here. 


Get  independent  and  become  a 

member  of  AIVF,  the  Association  of 

Independent  Video  and  Filmmakers. 

By  joining  AIVF  you  can  enjoy  benefits 

like  trade  discounts  on  supplies  and 

services;  discounts  on  workshops  and 

resource  guides;  access  to  affordable 

health  coverage.  AIVF  offers  a 

searchable  directory  of  domestic 

and  international  film  festivals, 

plus  a  whole  lot  more 


visit  us  at  www.aivf.org 


tion/dv/film.  Formats:  Mini-DV,  DVD, 
VHS.  Entry  Fee:  $20.  Contact:  (email) 
film@chicagocitylimits.com  or  see  site: 
www.firstsundays.com. 

INDIEEXPOSURE  is  a  new  festival  that  is 
designed  to  build  an  ongoing  and  more 
open  network  for  independent  film 
professionals  and  "enthusiasts."  The  goal 
is  to  provide  continued  opportunities  for 
great  filmmakers  to  showcase  their  work, 
while  offering  film  buffs  more  variety  and 
easier  access  to  a  broader  independent 
film  community.  I.E.  will  sponsor  screen- 
ings of  select  films  on  a  monthly  basis  at 
a  local  Los  Angeles  theatre.  For  submis- 
sion procedure,  email  lndieExposure@ver 
izon.net  and  type  "SUBMISSION"  in  the 
subject  line. 

MINDJAKK  DIGITAL  STUDIOS  is  seeking 
submissions  for  their  new  show  called 
Independent  Axis,  which  showscases 
independent  art:  shorts  primarily  and 
videos,  trailers,  web  short,  flash  animation 
and  artists  showcase.  Submissions  are 
free  of  charge  and  will  be  broadcast  to  a 


possible  80,000  households  on  a  NBC  affil- 
iate. You  can  find  out  more  information  at 
www.mindjakk.com. 

OCULARIS  provides  a  forum  for  film  & 
video  makers  to  exhibit  their  work  at 
Brooklyn's  Galapagos  Art  &  Performance 
Space.  All  works  are  considered  for  pro- 
gramming in  the  weekly  series,  travelling 
programs  &  other  special  projects.  Local 
film/video  makers  can  submit  works  under 
15  mm.  to  Open  Zone,  a  quarterly  open 
screening.  Nat'l/int'l  works  &  medium 
length  works  (15-45  min.)  will  be  consid- 
ered for  curated  group  shows.  For  sub- 
mission guidelines  &  other  info,  visit  the 
website  www.ocularis.net;  or  email: 
shortfilms@ocularis.net. 

STREET  MOVIES  is  a  year-round  screening 
series  presented  by  Philadelphia's  Scribe 
Video  Center.  Free  series  tours  Philly 
neighborhoods  throughout  the  year  & 
offers  a  program  of  indy  cinema  to  the 
general  public  w/  a  forum  for  dialogue. 
Prefer  social  issue,  thought-provoking 
work  of  any  genre  or  style  as  well  as  kid- 


66    The  Independent  I  June  2005 


friendly  pieces.  Must  be  under  60  mins  & 
will  receive  an  honorarium  if  selected. 
Founded:  1997.  Send  1/2"  VHS  or  DVD 
w/  synopsis  and  contact  info.  Contact: 
Phil  Rothberg,  Program  Coordinator;  215- 
222-4201;  email  stmovies@scribe.org; 
www.scribe.org. 

URBAN  MEDIAMAKERS  FILM  FESTIVAL  2005 

is  accepting  submissions  for  the  4th 
Annual  Urban  Mediamakers  Film  Festival 
to  be  held  in  Atlanta,  Georgia,  October  14- 
16,  2005.  All  genres  accepted  including 
short,  feature,  and  documentaries  on  VHS 
and  DVD  (DVD  copies  must  include  a  VHS 
as  well).  Deadline  for  submissions  is 
August  1,  2005  with  a  entry  fee  of  $10. 
Please  mail  a  VHS/DVD  copy  of  your  film 
and  include  a  synopsis  of  the  film,  length 
of  film,  a  short  bio  and  resume  of  the 
director/producer/writer.  Also  include 
press  materials  if  they  are  available.  Mail 
all  entries  to:  Urban  Mediamakers  Film 
Festival  2005,  PMB  315,  1353  Riverstone 
Parkway,  Suite  120,  Canton,  Georgia 
30114,  Attention:  Festival  Coordinator.  For 
more  information  visit  www.urbanmedia 
makers.com  or  call  770.345.8048. 

WILD  BLUE  YONDER  NETWORK 

(www.gowildblueyonder.com)  presents 
the  Cloud  9  Short  Film  Festival.  This  ongo- 
ing film  festival  selects  5  films  each 
month  to  run  the  length  of  the  month  on 
the  Wild  Blue  Yonder  Network,  the  in- 
flight entertainment  network  of  Frontier 
Airlines.  Each  monthly  film  will  be  voted 
on  online;  at  the  end  of  the  year,  one  film 
will  be  declared  the  year's  winner,  receiv- 
ing a  $5,000  grad  prize.  To  submit:  go  to 
www.gowildblueyonder.com  and  choose 
the  link  for  how  to  submit  or  go  to 
www.bigfilmshorts.com  and  click  on  the 
link  for  Wild  Blue  Yonder  and  follow  the 
submission  instructions.  Contact  Brant 
Kriscewicz  of  Wild  Blue  Yonder  at  303- 
382-4382  or  bkrisewicz@henrygill.com. 
Or  mail  your  film,  along  with  a  completed 
submission  form  to  David  Russell  of 
NANOTV  at  100  S.  Sunrise  Way  #289, 
Palm  Springs,  CA  92262. 


GWW 


Gotham  Writers'  Workshop8 

Online  Workshops  in 
Screenwriting  and  TV  Writing 

"Best  of  the  Web"  -  Forbes 

"Gotham  Writers'  Workshop  has  proved  a  priceless  resource  for  our  members  and 
writers  around  the  world.  Their  skilled  instruction,  convenient  class  schedules 
and  student-faculty  exchange  are  without  equal.  " 

—  John  Johnson,  Executive  Director,  American  Screenwriters  Association 

Writers  at  every  level  can  benefit  from  a  professional  writing  workshop.  A  class 
of  committed  writers  working  together  under  the  direction  of  a  professional 
writer  can  provide  the  inspiration,  insight  and  direction  you  need  to  develop 
your  work. 

GOTHAM  WRITERS'  WORKSHOP 

The  leading  creative  writing  school  online  and  in  NYC,  Gotham  Writers' 
Workshop  has  provided  comprehensive  10-week  online  workshops  to  more 
than  10,000  students  worldwide.  In  the  process  the  school  has  received 
accolades  from  its  students  and  a  "Best  of  the  Web"  rating  from  Forbes. 

LIVE  WORKSHOP  BENEFITS  &  ONLINE  CONVENIENCE 

Gotham  online  workshops  provide  all  the  features  you  would  find  in  a  'live' 
workshop  including: 

•  Lectures  on  craft 

•  Writing  exercises  with  instructor  feedback 

•  Extensive  student/teacher  interaction 

•  In-depth  critique  of  student  work 

You  can  log  onto  your  online  workshop  whenever  you  want  —  our  classes 
are  available  24/7.   What  could  be  more  convenient? 

TAKE  YOUR  WRITING  TO  THE  NEXT  LEVEL 

To  learn  how  the  professional  writers  at  Gotham  can  help  you  take  your 
writing  to  the  next  level,  visit  WritingClasses.com  or  call  us  toll-free  at 

1-877-974-8377. 

"Gotham  gave  me  my  first  glimpse  into  the  world  of  screenwriting.  Armed  with 
that  knowledge,  I  packed  up  and  headed  for  Hollywood.  In  less  than  two  years, 
I  went  from  a  student  in  the  Screenwriting  I  class  to  staff  writer  on  the  highest- 
rated  syndicated  action  hour  of  the  season. " 

—  George  Strayton,  StaffWriter,  Xena 


WritingClasses.com 


June  2005  I  The  Independent  67 


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ALBANY/TROY,  NY: 

UPSTATE  INDEPENDENTS 

When:  First  Tuesdays,  6:30  p.m. 

Where:  Bulmer  Telecommunications  Center, 

Hudson  Valley  Community  College,  80 

Vandenburg  Ave.,  Troy,  NY 

Contact:  Jeff  Burns,  (518)  366-1538 

albany@aivf.org 

ATLANTA,  GA: 

IMAGE 

When:  Second  Tuesdays,  7  p.m. 

Where:  Atlanta  Contemporary  Art  Center, 

353  Means  Street 

Contact:  Sonia  Vassell,  (404)  352-4225  x20 

atlanta@aivf.org;  wvvrw.imagefv.org 

CHARLESTON,  SC: 

When:  Last  Thursdays,  6:30  p.m. 

Where:  Charleston  County  Library 

68  Calhoun  Street 

Contact:  Peter  Paolini,  (843)  805-6841;  or 

Peter  Wentworth,  charleston@aivf.org 

CLEVELAND,  OH: 

OHIO  INDEPENDENT  FILM  FESTIVAL 
Contact:  Annetta  Marion  or  Bernadette 
Gillota,  (216)651-7315 
cleveland@aivf.org;  www.ohiofilms.com 

COLUMBIA,  SC: 

When:  Second  Sundays 
Where:  Art  Bar,  1211  Park  St. 
Contact:  Wade  Sellers,  (803)  929-0066 
columbia@aivf.org 

DALLAS,  TX: 

VIDEO  ASSOCIATION  OF  DALLAS 

When:  Bi-monthly 

Contact:  Bart  Weiss,  (214)  428-8700 

daJlas@aivf.org 


EDISON,  NJ: 

Where:  Passion  River  Productions, 
190  Lincoln  Hwy. 

Contact:  Allen  Chou,  (732)  321-071 1 
edison@aivf.org;  www.passionriver.com 

FORT  WAYNE,  IN: 

Contact:  Erik  Mollberg 

(260)  691-3258;  fortwayne@aivf.org 

HOUSTON,  TX: 

SWAMP 

When:  Last  Tuesdays,  6:30  p.m. 

Where:  1519  West  Main 

Contact:  Mary  Lampe,  (713)  522-8592 

houston@aivf.org 

HUNTSVILLE,  AL: 

Contact:  Charles  White,  (256)  895-0423 
huntsville@aivf.org 

JEFFERSON  COUNTY,  AL: 

Contact:  Paul  Godby,  (205)  956-3522 
jeffersoncounty@aivf.org 

LINCOLN,  NE: 

NEBRASKA  INDEPENDENT  FILM  PROJECT 
When:  Second  Wednesdays,  5:30  p.m. 
Where:  Telepro,  1844  N  Street 
Contact:  Jared  Minary,  lincoln@aivf.org, 
(402)  467-1077,  www.nifp.org 

LOS  ANGELES,  CA: 

When:  Third  Mondays,  7:30  p.m. 

Where:  EZTV,  18th  Street  arts  Center,  629 

18th  St.,  #6,  Santa  Monica 

Contact:  Michael  Masucci 

(310)  829-3389;  losangeles@aivf.org 

MILWAUKEE,  Wl: 

MILWAUKEE  INDEPENDENT  FILM  SOCIETY 

When:  First  Wednesdays,  7  p.m. 


Where:  Milwaukee  Enterprise  Center, 
2821  North  4th,  Room  140 
Contact:  Laura  Gembolis,  (414)  688-2375 
milwaukee@aivf.org;  www.mifs.org/salo 

NASHVILLE,  TN 

Where:  See  www.naivf.com  for  events 
Contact:  Stephen  Lackey,  nashville@aivf.org 

PORTLAND,  OR: 

Where:  Hollywood  Theatre 

Contact:  David  Bryant,  (503)  244-4225 

portland@aivf.org 

ROCHESTER,  NY: 

Where:  Visual  Studies  Workshop 

Contact:  Liz  Lehmann 

(585)  377-1109;  rochester@aivf.org 

SAN  DIEGO,  CA: 

When:  Monthly 

Where:  Media  Arts  Center,  921  25th  Street 

Contact:  Ethan  van  Thillo  (619)  230-1938 

sandiego@aivf.org 

SAN  FRANCISCO,  CA: 

Contact:  Kathy  Vaguilar 

(510)  482-3484;  sanfrancisco@aivf.org 

SEATTLE,  WA: 

SEATTLE  INDIE  NETWORK 

When:  Bi-monthly 

Where:  Wiggly  World  and  91 1  Media  Arts 

Center 

Contact:  Andrea  Mydlarz,  Fiona  Orway; 

seattle@aivf.org 

TUCSON,  AZ: 

Contact:  Jana  Segal,  (520)  906-7295 
tucson@aivf.org 

WASHINGTON,  DC: 

Contact:  DC  Salon  hotline, 

(202)  661-7145,  washingtondc@aivf.org 


70  The  Independent  I  June  2005 


THANK  YOU 


The  Association  of  Independent  Video  and  Filmmakers 
(AIVF)  provides  a  wide  range  of  programs  and  services 
for  independent  moving  image  makers  and  the  media 
community,  including  The  Independent  and  a  series  of 
resource  publications,  seminars  and  workshops,  infor- 
mation services,  and  arts  and  media  policy  advocacy. 

None  of  this  work  would  be  possible  without  the 
generous  support  of  the  AIVF  membership  and  the 
following  organizations: 

We  also  wish  to  thank  the  following  individuals  and 
organizational  members: 


*» 


NYSCA 


G 

PBS 


Adobe  Systems,  Inc. 

City  of  New  York  Dept.  of  Cultural  Affairs 

Discovery  Wines 

Experimental  Television  Center  Ltd. 

Forest  Creatures  Entertainment,  Inc. 

Home  Box  Office 

The  Jewish  Communal  Fund 

John  D.  and  Catherine  T.  MacArthur  Foundation 

NAMAC 

The  Nathan  Cummings  Foundation 

The  National  Endowment  for  the  Arts 

New  York  State  Council  on  the  Arts 

The  Norman  and  Rosita  Winston  Foundation 

Panasonic  USA 

PBS 

Public  Media,  Inc. 

Yuengling  Beer 


BUSINESS/INDUSTRY  MEMBERS:  AL:  Cypress  Moon  Productions; 
AZ:  Ascension  Pictures;  CA:  Groovy  Like  a  Movie;  llluminaire 
Entertainment,  Media  Del'Arte;  SJPL  Films,  Ltd.;  CO:  Pay  Reel; 
CT:  Anvil  Production;  DC:  Corporation  for  Public  Broadcasting;  FL: 
Key  West  Films  Society;  New  Screen  Broacasting;  GA:  Lab  601 
Digital  Post;  IL:  Shattering  Paradigms  Entertainment,  LLC;  MA: 
Exit  One  Productions;  MD:  NewsGroup,  Inc.;  TLF  Limited 
Management;  Ml:  Logic  Media  LLC;  NH:  Kinetic  Films;  NY: 
American  Montage;  Baraka  Productions;  Cypress  Films;  DeKart 
Video;  Deutsch/Open  City  Films;  Docurama;  Forest  Creatures 
Entertainment;  getcast.com;  Gigantic  Brand;  Harmonic  Ranch; 
Lantern  Productions;  Larry  Engel  Productions  Inc.;  Lightworks 
Producing  Group;  Mad  Mad  Judy;  Mercer  Media;  Missing  Pixel; 
Off  Ramp  Films,  Inc.;  On  the  Prowl  Productions;  OVO;  Possibilites 
Unlimited;  Production  Central;  Range  Post;  Robin  Frank 
Management;  Rockbottom  Entertainment,  LLC;  Triune  Pictures; 
United  Spheres  Production;  OR:  Art  Institute  of  Portland;  Rl:  The 
Revival  House;  WA:  Sound  Wise;  Two  Dogs  Barking;  Singapore: 
Crimson  Forest  Films 

NONPROFIT  MEMBERS:  AR:  Henderson  State  University; 
AZ:  Pan  Left  Productions;  CA:  Bay  Area  Video  Coalition;  California 
Newsreel;  Everyday  Gandhis  Project;  Film  Arts  Foundation; 
International  Buddhist  Film  Festival;  NALIP;  New  Images 
Productions;  Sundance  Institute;  USC  School  of  Cinema  and  TV; 
CO:  Denver  Center  Media;  Free  Speech  TV:  CT:  Hartley  Film 
Foundation;  DC:  American  University  School  of  Communication; 
CINE;  FL:  Miami  International  Film  Festival;  University  of  Tampa; 
GA:  Image  Film  and  Video  Center;  HI:  Pacific  Islanders  in 
Communications;  IL:  Art  Institute  of  Chicago  (Video  Data  Bank); 
Community  Television  Network;  Department  of 
Communication/NLU;  Kartemquin  Films;  IN:  Fort  Wayne  Cinema 
Center;  KY:  Appalshop;  MA:  CCTV;  Documentary  Educational 
Resources;  Harvard  University,  OsCLibrary;  LTC;  MD:  Laurel  Cable 
Network;  Silverdocs:  AFI  Discovery  Channel  Doc  Festival;  ME 
Maine  Photographic  Workshop;  Ml:  Ann  Arbor  Film  Festival;  MN 
IFP/MSP;  Walker  Art  Center;  MO:  Webster  University  Film  Series 
NC:  Broadcasting/Cinema;  Calcalorus  Film  Foundation;  Duke 
University,  Film  &  Video  Dept.;  NE:  Nebraska  Independent  Film 
Project/AIVF  Salon  Lincoln;  NJ:  Black  Maria  Film  Festival;  Capriole 
Productions;  Freedom  Film  Society,  Inc.;  Princeton  University, 
Program  in  Visual  Arts;  NM:  Girls  Film  School;  University  of  New 


Mexico;  NY:  ActNow  Productions;  Arts  Engine;  Cornell  Cinema; 
Council  for  Positive  Images,  Inc.;  Creative  Capital  Foundation; 
Crowing  Rooster  Arts;  Educational  Video  Center;  Experimental  TV 
Center;  Film  Forum;  Film  Society  of  Lincoln  Center;  Firelight 
Media;  International  Film  Seminars;  LMC-TV;  Manhattan 
Neighborhood  Network;  National  Black  Touring  Circuit;  National 
Black  Programming  Consortium;  National  Musuem  of  the 
American  Indian;  National  Video  Resources;  New  York  University, 
Cinema  Studies;  New  York  Women  in  Film  and  Television; 
Parnassus  Works;  POV/The  American  Documentary;  RIT  School 
of  Film  and  Animation;  Squeaky  Wheel;  Standby  Program; 
Stonestreet  Studios  Film  and  TV  Acting  Workshop;  Stony  Brook 
Film  Festival;  Syracuse  University;  Upstate  Films,  Ltd.;  Witness; 
Women  Make  Movies;  OH:  Athens  Center  for  Film  And  Video; 
Independent  Pictures/AIVF  Ohio  Salon;  Media  Bridges  Cincinatti; 
School  of  Film,  Ohio  University;  Wexner  Center;  OR:  Northest 
Film  Center;  The  Oregon  Film  &  Video  Foundation;  PA:  American 
Poetry  Center;  Philadelphia  Independent  Film  &  Video  Assoc. 
(PIFVA);  Scribe  Video  Center;  TeamChildren.com;  Rl:  Flickers  Arts 
Collaborative;  SC:  Department  of  Art,  University  of  South  Carolina; 
South  Carolina  Arts  Commission;  TX:  Austin  Film  Society; 
Southwest  Alternate  Media  Project;  UT  Sundance  Institute;  WA: 
Seattle  Central  Community  College;  Thurston  Community 
Television;  Canada:  Banff  Centre  Library;  France:  The  Carmago 
Foundation 

FRIENDS  OF  AIVF:  Angela  Alston,  Sabina  Maja  Angel,  Tom 
Basham,  Aldo  Bello,  David  Bemis,  Doug  Block,  Liz  Canner,  Hugo 
Cassirer,  Williams  Cole,  Anne  del  Castillo,  Arthur  Dong,  Martin 
Edelstein,  Esq.,  Aaron  Edison,  Paul  Espinosa,  Karen  Freedman, 
Lucy  Garrity,  Norman  Gendelman,  Debra  Granik,  Catherine  Gund, 
Peter  Gunthel,  David  Haas,  Kyle  Henry,  Lou  Hernandez,  Lisa 
Jackson,  John  Kavanaugh,  Stan  Konowitz,  Leonard  Kurz,  Lyda 
Kuth,  Steven  Lawrence,  Bart  Lawson,  Regge  Life,  Juan 
Mandelbaum,  Diane  Markrow,  Tracy  Mazza,  Leonard  McClure, 
Daphne  McDuffie-Tucker,  Jim  McKay,  Michele  Meek,  Robert 
Millis,  Robert  Millis,  Richard  Numeroff,  Elizabeth  Peters,  Laura 
Poitras,  Robert  Richter,  Hiroto  Saito,  Larry  Sapadin,  James 
Schamus,  John  Schmidt,  Nat  Segaloff,  Robert  Seigel,  Gail  Silva, 
Innes  Smolansky,  Barbara  Sostaric,  Alexander  Spencer,  Miriam 
Stern,  George  Stoney,  Rhonda  Leigh  Tanzman,  Rahdi  Taylor,  Karl 
Trappe,  Jane  Wagner,  Bart  Weiss 


June  2005  I  The  Independent    71 


THE  LIST 


YOU  CALL  THIS  WEIRD? 

By  Lindsay  Gelfand 

How  experimental  can  an  independent  film  be  before  it  gets  just  straight-up  weird? 
And  what,  in  your  opinion,  does  the  art  of  experimental  filmmaking  really  entail? 


"I  rhink  you  can  be  as  'experimental'  as  you  want  as  long  as 
you  are  trying  to  communicate  something.  It's  a  category  that 
usually  means  you're  not  telling  a  story  the  same  way  everyone 
else  does.  The  most  important  thing  is  to  have  something  clear 
you're  trying  to  communicate,  then  decide  on  the  method." 

— Nicholas  McCarthy,  director,  Cry  For  Help 

"At  its  core,  experimental  filmmaking  is  an  exploration  and  a 
challenge  of  the  plastic  elements  of  film  as  a  presentation  for- 
mat. So,  who  is  to  say  what  is  too  weird?  Certainly  not  me. 
Though  one  can  critique  and  judge  the  film's  craft,  relevance, 
and  impact;  its  insight,  thoughtlulness,  and  thoroughness:  and 
its  coarse  or  fragile  aesthetics,  as  well  as  its  contents  and  goals." 
— Alvaro  Donado,  producer,  Messengers  and  Family  Portrait 

"I  guess  the  point  at  which  it  would  get  weird  is  the  point 
that  it  crosses  from  objective  to  subjective,  where  it  begins  to 
not  make  as  much  sense  to  the  majority  and  forces  the  individ- 
ual to  struggle  with  finding  meaning  in  it.  The  threshold  will  be 
different  for  everyone — each  finds  purpose  beyond  what  the 
next  does.  It  doesn't  have  to  mean  something  abstract  with  elec- 
tronic noises,  just  pushing  the  envelope.  I  think  elements  of  that 
can  be  found  in  a  lot  of  work." 

— Chad  Burris,  producer,  Goodnight  Irene 

"If  we  look  back,  some  of  Luis  Bund's  collaboration  with 
Salvador  Dali,  I'm  sure,  was  interpreted  as  'weird.'  But  as  long 
as  there  is  a  strong  subconscious  or  conscious  message  to  the 
masses... why  not?" 

— Maritza  Alvarez,  writer/cinematographer,  Pura  Lengua 

"I  saw  a  lot  of  great  experimental  films  this  year  at  Clermont- 
Ferrand:  Phantom  Limb,  The  Raftsman's  Razor,  The  Final 
Solution.  Some  were  tedious  ...  others  were  absolutely  amazing 


and  were  truly  groundbreaking.  I  guess  that's  what  experimen- 
tal filmmaking  is  really  about:  give  audiences  something  they've 
never  seen  and/or  weren't  expecting.  When  it  works,  it's  incred- 
ible. And  it's  painful  to  watch  if  it  isn't  pulled  off." 

— John  Bryant,  director,  Oh  My  God 

"Generally  an  independent  film  can  rate  up  to  like  an  EXP 
7.1  before  it  will  be  deemed  Too  Weird  For  Audiences.  The 
scale  will  differ  slightly  in  Europe,  but  it's  safe  to  say  that  a  7.3 
or  higher  will  land  you  in  Anthology  Film  Archives  (or  even  fur- 
ther downtown,  where  things  can  get  Downright  Weird...)  If  I 
were  advising  an  aspiring  independent  filmmaker  today,  I 
would  say  shoot  for  the  6.8-7.0 — you  can  always  make  it  more 
experimental  if  you  don't  get  distribution.  The  art  is  in  setting 
the  Weird  mark  that  is  right  for  your  audience,  and  then  nail- 
ing it." 

— Bill  Morrison,  director/producer,  Outerborough 

"Experimental  filmmaking  should  always  keep  in  mind  that 
an  audience  comes  to  a  film  expecting  to  be  told  a  story  or  to 
find  a  piece  of  themselves  within  the  story.  So  even  in  its 
strangest  and  weirdest  realms,  experimental  films  must  keep  a 
human  and  emotional  connection  with  its  audience." 

— Tonia  Barber,  director,  Raw 

"All  films  are  experiments  if  you  accept  the  definition  of 
experiment  as  investigation.  Every  film  I've  ever  made  has  been 
an  experiment  on  multiple  levels,  from  story  and  character  to 
production  and  process.  I  always  discover  something  new  and 
never  know  where  I'll  end  up  before  I  get  started.  If  I  always 
knew  exactly  where  I  was  going,  I  think  filmmaking  would  be 
kind  of  boring." 

— Eric  Escobar,  director,  One  Weekend  a  Month 


72  The  Independent  I  June  2005 


1-800-611 -FILM  •  WWW.NYFA.COM 


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a  magazine  for  video  and  filmmakers 


THE 


July/August  2005 

Film  Funds.  Marketing  Tools.  Fe  stint 


I  Listings 


REVELATIONS  FROM  DOWN  UNDER 

Perth's  Revelation  Film  Festival  director 
Richard  Sowada  on  the  glory  of  it  all 


FREE-SPIRITED  ACTRESS  BAI  LING: 

lit,  DCaUUIUI  VL  Ulllfy,   pUbMILj  IUl 

Playboy,  and  advice  from  Terrence  Malick 

DON'T  CALL  HER  A  FEMINIST: 

Margarethe  von  Trotta  makes  movies 
about  women,  enough  said 


Nick  Fraser  says  sod  off 

to  a  political  agenda  in  docs:  letfs  tell  stories! 


S4.95  us   S6.95  ca 


A  Publication  of  The  Association  of  Independent  Video  and  Filmmakers 

www.aivf.org 


They  make 
We  sell  it. 


The  ITN  Archive  holds  one  of  the  biggest  collections  of  news  material  anywhere 
in  the  world,  and  includes  Reuters  Television,  several  international  newsreels  and 
British  Independent  Television  News,  all  fully  searchable  at  www.itnarchive.com 


ITN  Archive  (New  York) 

The  Reuters  Building 

3  Times  Square 

4th  Floor 

New  York 

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Tel:  646  223  6671 

Fax:  646  233  6675 

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THE  IRON  CHEF  OF 
FILMMAKING.  10  HOURS. 
A  LIST  OF  INGREDIENTS. 
SCREENING  THE  11™  HOUR. 


Coming  to  your  city.  Signup  online. 


Cinemasports 

www.cinemasports.com 


Volume  28  Number  6 

Cover:  "Storyville"  editor  Nick  Fraser  (courtesy  BBC) 


Contents 


Upfront 


5  EDITOR'S  LETTER 

6  CONTRIBUTORS 

8  NEWS 

Steven  Soderbergh's  new  experiment;  WGA's  low 
budget  agreement;  screenwriter  claims  The 
Matrix;  National  Conference  for  Media  Reform 
By  Leah  Hochbaum 

14  UTILIZE  IT 

Tools  and  news  you  can  use 
By  David  Aim 

15  PRODUCTION  JOURNAL 

Human  rights  activists  gather  for  an  intense  and 
intensive  workshop 

By  Michele  Stephenson 

19  PROFILE 

Margarethe  von  Trotta  is  not  a  feminist 
By  Sarah  Coleman 

22  DOC  DOCTOR 

Making  a  doc  abroad;  what  makes  a  film  foreign? 
By  Fernanda  Rossi 

24  FIRST  PERSON 

A  festival  in  Perth,  Australia 
By  Richard  Sowada 

27  Q/A 

Actress  Bai  Ling 

By  Rebecca  Carroll 

31  ON  THE  SCENE 

The  African  Film  Festival  at  Eyebeam 
By  Douglas  Singleton 

34  FESTIVAL  CIRCUIT 

INPUT:  Public  Television's  annual  conference 
By  Niall  McKay 


Features 


36  THE  BBC  BULLY 

Nick  Fraser's  expanding  empire 
By  Lisa  Selin  Davis 

40  BEYOND  BOLLYWOOD 

The  new,  new  Indian  cinema 
By  David  Aim 

44  ONCE  UPON  A  TIME  IN  MEXICO 

The  next  chapter  in  cinema 
By  Victor  Payan 

48  FOREIGN  FILM  DISTRIBUTORS 

From  full-service  to  start-up 
By  Margaret  Coble 


52  LEGAL 

The  art  of  negotiating  film  distribution 
By  Fernando  Ramirez,  Esq. 

54  POLICY 

Public  broadcasting's  right  turn 
Bv  Matt  Dunne 


Listings 

56  FESTIVALS 
63  CLASSIFIEDS 
66  NOTICES 

69  WORK  WANTED 

70  SALONS 

71  THANKS 

72  THE  LIST 


www.aivf.org 


July/August  2005  I  The  Independent    3 


11 


Feb. 16, 17,&18,2006-Starkville,MS 


Our  9th  annual  "Mag"  welcomes 
all  genres,  all  lengths,  in  competition 
for  awards.  The  "Mag"  was  founded 
by  Ron  Tibbett  to  celebrate  his  vision 
of  Independent  film  in  Mississippi.  It 
has  been  called  the  most  filmmaker 
friendly  festival  by  many  of  our  past 
contributors.  Entry  fees  are  $25  feature, 
$15  shorts  and  $10  student  film.  We 
are  proud  partners  with  Rhode  Island 
International  Film  Festival,  Tupelo 
Film  Festival,  Crossroads  Film  Festival 
and  Indie  Memphis. 


R* 


Congrats  to  all  2005  Mag  winners  including  Aruna  Naimji's  "One  Balloon", 
E.S.  Wochensky's  "Shoot  the  Moon",  Joe  Scott's  "Ocean  Front  Property" 
and  Joel  Fendelman's  "Tuesday". 

We  look  forward  to  seeing  you  down  in  the  deep  South. 


Entry  Forms:  Download  at  www.magfilmfest.com 
or  write  to:  Festival  Director 

2269  Waverly  Drive 

West  Point,  MS  39773 


Phone:  (662)  494-5836 
Fax: (662)  494-9900 


The  Reel  Vision  Filmmakers'  Conference 

the  edge  to  succeed 

is  within  your  grasp 

It 's  time  for  a  new  day  to  rise  on  the  silver  screen. 

Make  it  your  vision. 


Pamela  lave  Smith:  Founder, 
Mythworks;  Producer/Writer 
/Director  for  Paramount  Pictures, 
Columbia-Sony. 

Dr.  Sam  Smiley:  Screenwriter, 

author  of  Playwritmg:  the 

Structure  of  Action. 


Cutting  edge 
instruction: 

Mark  Steven  Bosko:  Distribution, 
wrote  The  Complete  Independent 
Movie  Marketing  Handbook. 

Kate  McCallum:  Writer /Producer  in   . 
development  at  NBC/Universal  TV, 
created  "The  Great  Idea"  for  sci(i)pt. 

Dr.  Linda  Seger:  Studio  Script  Consultant, 
author  of  Making  a  Good  Script  Great. 


Pre-conference  tour  of  western  film  location  Old  Tucson  Studios. 

October  21  -  23,  2005 

Radisson  City  Center 


Sponsored  by: 

ReelInpiration 
the  Tucson  Film  Office 
&  the  Hansen  Institute 


rUGSON,A^ 


www.reelinspiration.org 
reelinspitation@hotmail.com 


Publisher:  Bienvenida  Matias 
[publisher@aivf  org] 

Editor-in-Chief:  Rebecca  Carroll 

[editor@aivf  org] 

Managing  Editor:  Shana  Liebman 

[independent@aivf  org] 

Assistant  Editor:  Rick  Harrison 

(fact@aivf.org] 

Designer:  R.  Benjamin  Brown 

[benbrowngraphic@msn  com] 

Production  Associate:  Timothy  Schmidt 
[graphics@aivf.org] 

Editorial  Associate:  Lindsay  Gelfand 

[notices@aivf.org] 

Contributing  Editors: 

Sherman  Alexie,  David  Aim,  Pat  Aufderheide, 

Monique  Cormier,  Bo  Mehrad,  Cara  Mertes,  Kate  Turtle 

Contributing  Writers: 

Elizabeth  Angell,  Margaret  Coble,  Lisa  Selin  Davis, 

Matt  Dunne,  Gadi  Harel,  Rick  Harrison 

Advertising  Representative:  Veronica  Shea 

(212)  807-1400  x232,  [veronica@aivf.org] 

Advertising  Representative:  Michael  Tierno 

(212)  807-1400  x234,  [mike@aivf.org] 

Classified  Advertising:  Michael  Tierno 

(212)  807-1400  x241,  [classif ieds@aivf  org] 

■ 

National  Distribution: 

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• 

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combined  issues  January/February  and  July/August)  by  the 
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technology  consultant;  Katia  Maguire  Arias,  Christopher  Bartone, 
Kara  Di  Pietro,  Rabecca  Hoffman,  Michael  Romano,  interns; 
AIVF/FIVF  legal  counsel:  Robert  I.  Freedman,  Esq..  Cowan,  DeBaets, 
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©  Foundation  for  Independent  Video  &  Film,  Inc.  2005 
Visit  The  Independent  online  at:  www.aivf.org 


4  The  Independent  I  July/August  2005 


EDITOR'S  LETTER 


Dear  Readers, 

I  love  people  with  reputations — big, 
fierce,  impressive  ones  that  scare  you  a 
little,  but  then  also  intrigue  the  hell  out  of 
you.  I  don't  mean  the  Michael  Jackson 
variety  of  reputation.  More  along  the  lines 
of  the  BBC's  Nick  Fraser.  Show  me  a  film 
industry  person  who  doesn't  know  who 
this  guy  is,  and  who  wouldn't  do  some 
pretty  dastardly  deeds  in  order  to  get  a 
meeting  with  him.  But  the  guy  has  a 
reputation  for  being  a  little,  how  shall  we 
call  it,  salty?  I'd  only  heard  stories  when  I 
met  him  for  the  first  time  at  Sundance  a 
couple  years  ago,  and  frankly,  I  found  him 
to  be  a  perfect  delight.  But  then  I  go  for 
that  kind  of  highbrow,  intellectual,  some- 
times smug  Brit  type;  before  that  atrocious 
Yellow  Dog  book,  I  was  a  huge  Martin 
Amis  fan. 

Our  own  Lisa  Selin  Davis  had  the 
opportunity  to  talk  with  Nick  Fraser,  head 
commissioner  or  the  BBC's  "Storyville,"  in 
May,  when  he  was  in  New  York  for  all  of 
five  minutes,  and  I'm  thrilled  to  have  her 
feature  profile  of  him  lead  off  our  first  ever 
"Foreign  Film"  and/or  "World  Cinema" 
issue  (page  36).  We  didn't  exactly  go  about 
defining  what  we  meant  by  that.  Rather,  I 
thought  it  would  be  interesting  to  look  at 
some  places,  cultures,  and  peoples  around 
the  world  and  see  what  kind  of  film  com- 
munities they  have — what  kinds  of  stories 
the  films  and  filmmakers  are  telling,  their 
varying  styles  and  perspectives,  and  what 
the  future  of  their  respective  communities 
looks  like. 

The  ever  eloquent  and  curious  David 
Aim  gives  a  great  portrait  of  what's  hap- 
pening with  film  in  India — both  the  more 


independent  angle  as  well  as  the  whole 
"Bollywood"  business  (page  40).  San 
Diego-based  freelancer  Victor  Payan  looks 
at  new  film  movements  in  Mexico  and 
making  movies  in  Tijuana  (page  44),  while 
Revelation  Film  Festival  director  Richard 
Sowada  filed  a  First  Person  piece  from 
Perth,  Australia,  where  the  gin  is  cold  and 
the  projector's  hot  (page  24).  He  writes: 
"[Revelation's]  philosophy  and  approach  is 
simple,  and  the  background  or  the  event  is 
found  in  smoke-filled  noisy  bars  and 
venues  well  outside  of  established  film  cir- 
cuits and  more  accustomed  to  wild  rock 
than  celluloid." 

We  have  a  gorgeous  Production  Journal 
from  Haitian-born  filmmaker  Michele 
Stephenson,  who  undertook  what  sounds 
to  be  a  terrifically  inspired  and  somewhat 
dangerous  journey  to  document  human 
rights  activism  around  the  world  (page 
15).  And  Sarah  Coleman  profiles  the 
smart,  visionary  filmmaker  Margarethe 
von  Trotta.  The  fact  that  she's  a  woman  is 
totally  incidental  (page  19). 

I  talked  to  Bai  Ling,  who  is  just  as  free 
and  spirited  as  she  wants  to  be,  about  her 
festival  film  The  Beautiful  Country  (page 
27),  acting,  and  posing  for  Playboy.  And 
by  the  way,  who  do  you  have  to  sleep  with 
these  days  to  get  a  left-leaning 
program  on  public  television?  The 
Independents  policy  columnist  Matt 
Dunne,  who  recently  announced  that  he  is 
running  for  Congress,  sheds  some  light 
(page  54). 

Enjoy,  and  thanks  for  reading 
The  Independent, 
Rebecca  Carroll 


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July/August  2005  I  The  Independent  5 


Two  men  enter  an  apartment  never  to 
be  seen  alive  again  in  this  true  story  that 
shocked  France. 


Official  Selection  , 

Cannes  F I 
»     Fesi 


Dirk  Bogarde  and  Jane  Bbkin  star  ii 
tender  story  of  a  father  and  daughter 
reconnecting  after  years  of  separation 
and  distance. 


WIRRUMS 


lower  com 


1 2005  KOCH  lorber  films  UC 


LORBER 


CONTRII 


DAVID  ALM  teaches  film  history  and 
writing  at  two  colleges  in  Chicago.  His  writ- 
ing has  appeared  in  Artbyte,  Camerawork, 
RES,  Silicon  Alley  Reporter,  SOMA,  and  the 
The  Utne  Reader.  He's  also  contributed  to 
books  on  web  design  and  digital  filmmak- 
ing, and  assisted  in  making  documentaries 
about  architecture  and  garbage. 


MARGARET  COBLE  is  a  freelance 
journalist  whose  writing  has  appeared  in 
The  Advocate,  Curve  magazine,  Southern 
Voice,  and  other  print  and  online  publica- 
tions. She  is  also  a  DJ,  folk  artist,  music  pro- 
moter, and  one  of  the  organizers  of  Reel 
Identities,  New  Orleans's  LGBT  film  festi- 
val. Visit  her  website  and  blog  at 
www.djmags.com. 

SARAH  COLEMAN  is  books  editor  of 
Planet  magazine  and  writes  on  the  arts  for 
various  publications.  She  has  an  MFA  in 
fiction  writing  from  Columbia  University 
and  hopes  to  put  it  to  use  some  day  soon. 
Her  journalism  has  appeared  in  New  York, 
Newsday,  The  San  Francisco  Chronicle,  Salon, 
and  The  Boston  Phoenix,  among  others. 

LISA  SELIN  DAVIS  is  the  author  of  the 
novel,  Belly,  forthcoming  from  Little, 
Brown  &  Co.,  and  a  freelance  writer  in  New 
York. 

MATT  DUNNE  is  the  Democratic 
state  senator  of  Vermont  and  founder  of  the 
Vermont  Film  Commission.  Previously,  he 
served  two  and  a  half  years  as  National 
Director  of  AmeriCorps  VISTA  (Volunteers 
in  Service  to  America)  and  four  terms  as  a 
Vermont  state  representative. 


LEAH  HOCHBAUM  has  spent  an 
extraordinarily  large  chunk  of  her  life 
doing  grunt  work  for  the  higher-ups  at 
Rolling  Stone,  Jane,  and  Us  Weekly.  When 
she  is  good,  they  sometimes  let  her  write 
things.  Her  work  has  appeared  in  Time 
Out  New  York,  The  Blueprint,  The 
Forward  and  Video  Age  International. 


NIALL  MCKAY  is  a  San  Francisco- 
based  freelance  writer  and  broadcast  jour- 
nalist. Currently,  he  is  an  associate  at  the 
Center  for  Investigative  Reporting  in  San 
Francisco  where  he  has  been  working  on 
the  Latino  prison  gangs  project.  Recently, 
Niall  shot  and  edited  a  documentary 
about  racism  in  Ireland  and  a  documen- 
tary about  Samoa's  fafafine  (men  who  are 
raised  as  women).  He  has  written  for  San 
Francisco  magazine,  The  Economist,  The 
Financial  Times,  Wired,  Salon,  and  The 
New  York  Times.  His  broadcast  credits 
include  RTE  and  National  Public  Radio's 
KQED  FM  in  San  Francisco.  Niall  is  the 
director  of  Filum:  The  San  Francisco  Irish 
Film  Festival.  More  information  at 
www.niall.org. 

VICTOR  PAYAN  is  a  writer  and  pro- 
ducer based  in  San  Diego.  He  served  as 
associate  producer  for  the  PBS  documen- 
taries The  U.S.-Mexican  War:  1846-1848, 
The  Border,  and  Searching  for  San  Diego: 
San  Ysidro  and  is  currently  developing  a 
project  called  Aztec  Gold.  He  also  writes 
for  the  San  Diego  Latino  Film  Festival. 


6  The  Independent  I  July/August  2005 


UTORS 


FERNANDO  RAMIREZ,  ESQ.  is  an 

attorney  in  private  practice  in  New  York 
City,  where  he  lives  with  his  wife  and  12- 
year-old  son/aspiring  doc-maker.  He  gradu- 
ated from  Fordham  University  and  earned 
his  law  degree  from  Brooklyn  Law  School. 
His  work  involves  transactional  entertain- 
ment law.  He  drafts,  reviews,  and  negotiates 
industry  agreements,  and  he  advises  on 
copyright,  trademark,  contracts,  privacy, 
and  business  formation  matters  for  inde- 
pendent filmmakers,  executive  producers, 
media  personalities,  songwriters,  personal 
managers,  independent  labels,  and  non- 
profit film  organizations. 

FERNANDA  ROSSI,  known  as  the 
Documentary  Doctor,  is  a  filmmaker  and 
story  consultant  who  helps  filmmakers  craft 
the  story  structure  of  their  films  in  all  stages 
of  the  filmmaking  process.  She  has  doctored 
over  100  documentaries  and  fiction  scripts 
and  is  the  author  of  Trailer  Mechanics:  A 
Guide  to  Making  Your  Documentary 
Fundraising  Trailer.  For  more  information: 
www.documentarydoctor.com. 


DOUGLAS  SINGLETON  writes  film 
and  theater  criticism  for  The  Brooklyn  Rail 
and  for  L  Magazine.  His  website, 
www.dispactke.com,  features  photography, 
prose,  and  multimedia  experimentation.  A 
photography  installation  and  screening  of  a 
short  film  collaboration  with  Nadege 
Catenacci,  Spatial  Fragile  Raw,  was  shown 
at  White  Rabbit  in  March.  When  summer 
calls,  "Doug  come-a-running." 


RICHARD     SOWADA    is    one    of 

Australia's  most  active  screen  culture  prac- 
titioners. His  expertise  includes  over  15 
years  in  production,  distribution,  exhibi- 
tion, curating,  strategic  planning,  and 
screen-event  board  participation.  He  is 
committed  to  the  development  of  local 
audiences  and  the  embracing  of  progres- 
sive industry  practices.  Currently,  he  is 
pursuing  a  PhD  concerning  the  WWII 
works  of  Frank  Capra  and  their  influence 
on  documentary.  He  is  founder  and  direc- 
tor of  the  Revelation  Perth  International 
Film  Festival  and  works  as  a  consultant  to 
the  Australian  Film  Commission  and 
National  Screen  and  Sound  Archive. 


MICHELE     STEPHENSON     is    a 

Haitian-born  filmmaker  and  former 
human  rights  attorney.  She  has  trained 
human  rights  activists  from  all  over  the 
world  in  video  production  and  produced 
award-winning  documentaries  and  video 
production  guides  for  grassroots  activists. 
With  a  commitment  to  making  personal 
human  stories  that  are  too  often  excluded 
from  mainstream  media,  Stephenson  and 
her  husband,  Joe  Brewster,  recently 
launched  their  production  company,  The 
Rada  Film  Group.  Excerpts  of  their  work 
can  be  found  at  www.radafilm.com. 

We  regret  misspelling  Nick  Schager s  name 
in   his  photo  caption   in  the  June  issue. 


www.downtownavid.com 

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CITYSOUND 

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636  BROADWAY,  NYC 


July/August  2005  I  The  Independent    7 


Jacques  Weber,  Emmanueile  Bead  and 
Penelope  Cruz  star  in  this  glorious 
adaptation  about  the  greatest  scoundrel 
who  ever  walked  the  earth. 

WHO'S  THE  DADDY? 


WINNER 

Best  Actor  ^ 

Special  Jury  Prize 
Paris  Film  Festival 

Mathieu  Kassovitz's  (Gothika)  audacious, 
award-winning  comedy  about  an  interracial 
trio  coming  to  grips  with  joint  parenthood. 

Now  available  for  rent  at  blockbuster.com 


BLOCKBUSTER  Online 

The  Movie  Store  At  Your  Door. 

©  2005  France  Television  Distribution, 
2005  KOCH  Lorber  films  LLC  All  Rights 
Reserved    kochlorbi  films  com  LORBER 


NEWS 


2J2J  Entertainment 

Steven  Soderbergh's  new  experiment 
is  bigger  than  Julia's  boobs 


By  Leah  Hochbaum 

Steven  Soderbergh  likes  to  experi- 
ment. He  experimented  with 
Julia  Roberts's  boobs  in  Erin 
Brockovich.  He  experimented  with  view- 
ers' patience  in  Full  Frontal.  And  now, 
through  the  Oscar-winning  director's 
new  deal  with  2929  Entertainment  to 
direct  six  films  to  debut  simultaneously 
in  movie  theaters,  on  DVD,  and  on 
satellite  TV,  he's  experimenting  with  the 
very  way  the  film  industry  works. 

"It's  about  choice,"  said  Todd  Wagner, 
co-owner  and  CEO  of  the  California- 


based  2929.  "We're  letting  people  decide 
for  the  first  time  if  they  want  to  stay 
home  when  a  movie  debuts,  to  see  it 
'live,'  or  rent  it  for  viewing  at  their  con- 
venience. 1  truly  believe  it  has  the  poten- 
tial to  forever  change  the  economics  of 
making  and  releasing  movies." 

The  films  made  during  this  "day  and 
date"  initiative — as  2929  is  calling  it — 
will  be  budgeted  at  $1-2  million,  pro- 
duced in  1080i  high-definition  format, 
then  released  concurrently  in  Landmark 
Theatres,  a  chain  owned  by  2929,  and 


8  The  Independent  I  July/August  2005 


on  HDNet  Movies,  a  high-def  cable 
channel  also  owned  by  the  entertain- 
ment company.  To  keep  it  all  in  the  fam- 
ily, distribution  will  be  through  2929's 
Magnolia  Pictures  label. 

Soderbergh,  the  brains  behind  such 
films  as  Traffic  (2000),  The  Limey 
(1999),  and  Sex,  Lies,  and  Videotape 
(1989),  will  maintain  creative  control 
over  all  six  pictures,  a  prospect  that 
might  have  frightened  most  entertain- 
ment bigwigs — but  not  those  at  2929. 

"I  had  gotten  to  know  Steven  over  the 
last  couple  of  years  by  being  producing 
partners  on  Criminal  and  The  Jacket" 
said  Wagner,  speaking  for  himself  and 
2929  co-founder  and  Dallas  Mavericks 
owner  Mark  Cuban.  "I  respect  him  a 
great  deal  for  his  honesty  and  integrity — 
which  is  often  in  short  supply  in  this 
business.  He's  a  great  fit  for  us  in  that  he 
still  enjoys  making  smaller  budget  indie- 
type  movies." 

In  a  written  statement,  Soderbergh 
shared  Wagner's  enthusiasm  for  the 
endeavor:  "I'm  excited  to  work  with 
Todd  and  Mark,  and  appreciate  the  free- 
dom to  create  independent  films  under 
this  new  distribution  model.  All  of  us  see 
consumer  choice  driving  the  future  of 
the  movie  industry,  and  this  is  a  giant 
leap  in  that  direction." 

Though  Soderbergh's  high-definition 
projects  will  mark  the  first  time  that  the- 
atrical movies  are  released  in  this  man- 
ner, HDNet  Films — a  production  com- 
pany owned  by  2929 — has  already 
employed  this  strategy  with  a  documen- 
tary. 

Enron:  The  Smartest  Guys  in  the  Room, 
HDNet  Film's  very  first  production,  was 
released  theatrically  by  Magnolia 
Pictures  in  April  and  simultaneously  pre- 
miered on  HDNet  Movies. 

Soderbergh  is  already  hard  at  work  on 
the  first  film  for  this  new  enterprise, 
Bubble,  a  murder  mystery  set  in  Ohio. 
And,  in  keeping  with  his  modus  operan- 
di of  rampant  experimentation,  he's 
hired  regular  people  from  the  town 
where  the  movie  is  set  instead  of  profes- 
sional actors.  Of  course,  in  attempting  to 
consolidate  a  film's  marketing  costs  into 
a  single,  shorter  time  frame,  2929  is  also 
futzing  around  with  the  unknown.  But 


Support 

the  organization  that 
supports  you. 

Since  1973,  the  Association  of  Independent  Video 

and  Filmmakers  has  worked  tirelessly  to  support 
independent  vision.  Our  achievements  have  preserved 
opportunities  for  producers  working  outside  the  mainstream. 

For  just  $70/yr.  add  your  voice  to  ours,  and  let's  see  what 
we  can  do  together. 

visit  us  at  www.aivf.org 

or  call  212/  807-1400 

TOTALLY  INDEPfNDfHT 


July  7-18 

a13.4sa.7as5 

www.0utfe5t.org 

Tickets  on  sale  to  members:   6.6.Q5 
Tickets  on  sale  to  the  public:   B.11.Q5 


also  sponsored  by 

ieiphia  Aaraate  #y-    here^ 


Ci  MS'fri 


July/August  2005  I  The  Independent    9 


considering  they  own  the  theater  chain 
and  the  movie  channel  these  films  will 
air  on,  they're  pretty  much  free  to  exper- 
iment all  they  want  now,  aren't  they. 

The  Low  Budget  Agreement 

In  its  first  year  in  2002,  just  four  writ- 
ers and  would-be  filmmakers  submitted 
their  works  for  consideration  to  a  pilot 
program  offered  by  the  Writers  Guild  of 
America.  In  its  second  year,  there  were 
1 1.  And  in  2004,  35  films  were  made  as 
a  result  of  the  Low  Budget  Agreement. 

Though  it's  too  early  to  tell  how  many 
films  will  be  made  this  year — an 
unnamed  number  are  currently  pend- 
ing— it's  safe  to  say  that  writers  with  big 
dreams  and  small  budgets  are  slowly  but 
surely  realizing  that  if  they  want  to  see 
their  films  on  the  silver  screen,  the  Low 
Budget  Agreement  is  the  way  to  go. 

"The  situation  is  evolving,"  said  Kay 
Schaber,  an  independent  film  program 
executive  for  Writers  Guild  of  America, 
west,  when  reached  at  her  Los  Angeles 
office.  "With  digital  gaining  in  popular- 
ity, there's  more  of  an  opportunity  to  do 
low-budget  films  these  days.  It's  so  much 
easier  than  it  used  to  be." 

Available  in  2002 — though  all  but 
unheard  of  until  last  year  when  WGA 
officials  started  putting  the  word  out 
full-force  at  film  festivals  all  over  the 
nation — the  agreement,  which  is  only 
offered  at  the  writer's  request,  allows  for 
the  deferral  of  all  or  part  of  the  purchase 
compensation  for  an  existing  screenplay. 

For  films  budgeted  at  $500,000  and 
below,  the  entire  purchase  price  and  the 
first  rewrite  can  be  deferred.  For  films 
budgeted  between  $500,000  and  $1.2 
million,  $10,000  of  the  purchase  price  is 
paid  at  the  start  of  filming,  and  the 
rewrite  may  be  completely  deferred. 

Despite  the  obvious  benefits  of  this 
deal,  it's  taken  filmmakers  a  while  to 
catch  on  to  this  seemingly  easy  way  to 
finance  their  low-budget  indies — due 
mostly  to  writers'  fears  of  forfeiting  their 
rights  to  reacquire  their  material  should 
the  film  wallow  in  development  hell.  But 
writers  need  not  worry  about  losing  their 
babies — the  agreement  clearly  states  that 
should  the  flick  not  be  made  within  18 
months,  writers  are  entitled  to  reacquire 


ieric 


mca't 


■ 


■ 


,0-90—° 


Rodrigo  Garcia  was  one  of  four  writers  who 
capitalized  on  a  new  kind  of  WGA  contract  for  his 
film.  Nine  Lives  (WGA) 


their  material. 

And  so  those  in  the  know  at  WGA 
engaged  an  army  of  attorneys  and  agents 
at  Sundance,  Slamdance  and  the  Los 
Angeles  Film  Festival  to  educate  and 
edify  those  whom  they  hope  will  one  day 
be  among  the  filmmaking  elite.  "We 
believe  the  market  for  films  in  this  budg- 
et range  is  growing,"  said  Academy 
Award-winning  and  WGA  Award-nomi- 
nated screenwriter  Bill  Condon  in  a 
statement.  "As  it  does,  so  should  the 
Guild's  protections  of  those  writers 
whose  voices  are  being  represented  on 
screen." 

Four  films  whose  writers  capitalized 
on  this  WGA  contract  debuted  at 
Sundance  this  year.  Brick,  Rian  Johnson's 
directorial  debut  about  a  teenage  loner 
forced  into  the  seedy  underbelly  of  high 
school  crime  when  the  girl  he  loves  turns 
up  dead;  Nine  Lives,  a  female  relation- 
ship drama  from  Rodrigo  Garcia;  Hard 
Candy,  Brian  Nelson's  titillating  screen- 
play of  a  32-year-old  man  who  brings 
home  a  14-year-old  girl  he  befriends  on 
the  internet;  and  Ellie  Parker,  Scott 
Coffey's  comedic  take  on  the  life  of  a 
struggling  actress.  Most  if  not  all  of  these 
films  would  probably  never  have  been 
produced  if  not  for  the  agreement. 

The   latter  film,   which  stars   Naomi 


Watts  as  the  eponymous  heroine,  was 
shot  on  a  $1,000  camera  without  sound 
or  lighting.  Low  budget  is  as  low 
budget  does. 

Did  20th  Century  Fox  pull  a  Milli 
Vanilli? 

They  hired  Keanu.  They  draped 
Laurence  Fishburne  in  leather.  They 
made  those  fight  scenes  look  hella  good. 
Nobody's  challenging  the  Wachowski 
brothers'  ample  contributions  as  direc- 
tors of  The  Matrix  trilogy.  But  what  is 
currently  in  dispute  in  a  California  court 
is  whether  or  not  they  actually  wrote  the 
futuristic  saga — or  simply  ripped  off  the 
idea  from  someone  else. 

Bronx-born  screenwriter  Sophia 
Stewart  claims  that  The  Third  Eye,  an 
epic  she  says  she  wrote  in  the  early  80s, 
was  used  as  the  seed  for  all  three  Matrix 
films  and  all  three  Terminator  films,  and 
is  suing  a  whole  mess  of  people  to  prove 
it,  including  the  Wachowskis,  20th 
Century  Fox,  Warner  Bros.,  and 
Terminator  director  James  Cameron. 

"It's  a  ridiculous  claim,"  said  Bruce 
Isaacs,  an  attorney  for  Warner  Bros., 
pointing  out  that  Stewart's  main  claim  to 
Terminator  ownership  is  that  her  script 
contained  the  phrase:  "We  will  be  back," 
while  the  finished  product  contained  the 


10  The  Independent  I  July/August  2005 


similar  but  singular  and  contracted  "I'll 
be  back."  Arnold  Schwarzenegger's 
cyborg  success  came  out  in  1984. 
"Where  has  she  been  for  the  last  20 
years?"  Isaacs  asked. 

She's  been  around.  But  not  going  to 
the  movies  a  whole  lot,  apparently.  "I  did 
not  see  The  Terminator"  Stewart  said, 
when  reached  at  her  home  in  Las  Vegas. 
"If  I  had  seen  it,  I  would've  filed  suit  way 
before  2003."  The  self-proclaimed 
"Mother  of  the  Matrix,"  Stewart  is  like  a 
spurned  and  more  litigious  version  of  the 
film's  kindly,  wise  Oracle  character.  She 
contends  that  she  submitted  her  work  to 
20th  Century  Fox  in  the  early  80s  but 
never  heard  back.  And  Stewart  thought 
little  of  it  until  years  later  when  she  final- 
ly watched  the  movie,  was  shocked  to  see 
her  own  story  in  Cameron's  The 
Terminator,  and  felt  sure  that  Fox  had 
passed  her  work  on  to  the  future  Titanic 
director. 

Fox  asserts  that  it  had  no  involvement 
with  any  of  the  three  Terminator  films — 
that  it  neither  produced  nor  owns  any  of 
the  pictures  and  passed  nothing  on  to 
Cameron.  "She  keeps  talking  about  how 


The  Matrix,  which  Stewart  claims  she  created  (courtesy  Warner  Bros. 


July/August  2005  I  The  Independent     11 


Sophia  Stewart  (courtesy  Sophia  Stewart) 


she  had  access  to  Fox,"  said  Isaacs.  "OK, 
why  does  this  have  any  significance?" 
Because  Stewart  thinks  it  does. 

"I'm  the  real  thing  like  Coca-Cola," 
she  said.  "I  shopped  [my  book]  to  Fox 
return  receipt  and  I've  got  a  paper  trail  to 
prove  it.  These  people  are  all  about  tak- 
ing your  money,  screwing  you,  and  mak- 
ing you  like  it  all  along." 

As  for  The  Matrix,  Stewart  avers  that 
Andy  and  Larry  Wachowski  placed  an  ad 
in  a  national  magazine  in  1986  asking 
for  science-fiction  scripts,  and  she  sent 


hers  in  response.  "Andy  was  in  high 
school  and  Larry  was  in  college  in 
1986,"  Isaacs  said.  "They  never  ran  this 
advertisement.  They  never  got  stuff 
from  her." 

He  contends  that  he  has  asked 
Stewart  repeatedly  for  a  copy  of  this  ad, 
but  that  she  has  yet  to  produce  it, 
adding  that  the  Wachowskis  wrote  The 
Matrix  themselves  between  1992  and 
1993,  then  pitched  it  to  producer  Joel 
Silver,  who  in  turn  pitched  it  to  Warner 
Bros. 

Stewart  sees  it  differently.  She's  posi- 
tive that  the  story  is  hers,  recognizing 
similarities  between  the  two,  including 
characters,  dialogue  and  major  plot 
points,  and  she  is  pushing  ahead  with 
her  lawsuit. 

"In  Stewart's  story,  she  has  a  messiah 
figure,"  Isaacs  said.  "  The  Matrix  has  a 
messiah  figure  in  Neo  [played  by  Keanu 
Reeves].  She  thinks  this  is  an  indication 
that  someone  has  appropriated  her 
material.  But  there  are  all  sorts  of  messiah 
figures  out  there.  There's  Moses  and  Jesus 
and  Luke  SkywaJker.  In  analyzing  the  sim- 
ilarities, there's  really  nothing  there." 


But  Stewart  won't  have  it. 

"I  thought  writers  discussed  their 
work  with  the  public,"  she  said,  noting 
that  the  Wachowski  brothers  are  almost 
as  famous  for  their  refusal  to  do  any  press 
for  three  of  the  biggest  films  of  the  last 
decade  as  they  are  for  helming  those 
same  three  films.  She  views  this  as  an 
admission  of  their  guilt  lor  pilfering  her 
piece  so  freely. 

"It's  like  someone  trying  to  talk  for 
Rembrandt.  How  the  hell  could  some- 
one talk  for  Rembrandt  if  they  never 
painted  a  masterpiece  themselves? 
They've  so  cleverly  pulled  the  wool  over 
people's  eyes  that  hell,  they're  in  the 
Matrix." 

Isaacs  is  confident  that  once  any  judge 
hears  Stewart's  allegations  that  the  law- 
suit will  be  thrown  out  entirely,  but  he  is 
prepared  to  go  to  trial  if  necessary.  "I 
hope  to  prove  that  none  of  my  clients 
had  access  to  her  material  and  that  there 
just  ain't  similarities  there." 

Stewart,  though,  itches  for  her  day  in 
court.  "They  pulled  a  Milli  Vanilli,"  she 
said.  "That's  soine  to  come  out." 


K6  'JM  ■>    -  - 


A'fcNBC  NEWS  ARCHIVES 


30   ROCKEFELLER  PLAZA,  NEW   YORK,  NY  10112 
TELEPHONE:  212  664   3797     FAX:  212   703  3558 


12  The  Independent  I  July/August  2005 


National  Conference  for  Media 
Reform 

There's  something  wrong  with  the 
world  today  and — though  Democrats 
throughout  the  nation  are  positive  it's 
because  of  Fox  News's  very  existence — it's 
gradually  become  clear  that  there's  really 
something  amiss  with  the  media  at  large. 

More  than  2,200  communications 
industry  insiders  gathered  in  May  at  the 
Millennium  Hotel  in  downtown  St.  Louis 
for  the  National  Conference  for  Media 
Reform  to  discuss  the  issue.  "I  think  that 
across  the  country,  everyone  feels  there's 
something  terribly  wrong  with  the 
media,"  said  media  consultant  and  con- 
ference attendee  Alyce  Myatt.  "There 
have  been  lots  of  distractions  lately — with 
indecency  and  all  of  that,"  she  said,  refer- 
ring to  the  FCC's  post-Superbowl  breast- 
suppress-fest.  "That's  certainly  an  issue, 
but  the  fact  is  that  we  don't  have  open 
media,  and  we're  calling  ourselves  a 
democracy.  The  conference  was  able  to 
tap  that  distress." 

Panels  on  media  ownership  and  consol- 
idation, media  activism,  and  grassroots 
organizing  for  media  change  were  held 


throughout  the  three-day  sold-out  con- 
ference, which  was  hosted  by  the  Free 
Press,  a  nonpartisan  media  reform  group 
based  in  Northampton,  Massachusetts. 
The  conference — organized  with  the  pur- 
pose of  trying  to  figure  out  how  to  fix 
what's  wrong  with  today's  newspapers, 
magazines,  and  broadcast  media — 
attracted  the  likes  of  left-wing  comedian 
cum  Air  America  radio  host  Al  Franken, 
Outfoxed:  Rupert  Murdoch's  War  on 
Journalism  director  Robert  Greenwald, 
and  Bill  Moyers  of  PBS,  who  gave  a 
scathing  speech  calling  for  a  series  of 
town  hall  meetings  where  viewers  can  talk 
directly  to  station  managers  about  what 
they  really  want  from  public  broadcast- 
ing. 

"That  great  mob  that  is  democracy  is 
rarely  heard,"  said  Moyers,  former  host  of 
the  public  broadcaster's  newsmagazine 
'NOW  with  Bill  Moyers,'"  speaking 
before  a  jam-packed  room.  "That's  not 
the  fault  of  the  current  residents  of  the 
White  House  and  Capitol.  There  is  a 
great  chasm  between  those  of  us  in  the 
business  and  those  who  depend  on  TV 
and  radio  as  their  window  to  the  world. 


We  treat  them  too  much  like  audiences 
and  not  enough  like  citizens.  They  are 
invited  to  look  through  the  window,  but 
too  infrequently  to  participate."  Myatt 
echoed  Moyers's  sentiments.  "There  isn't 
sufficient  outreach  to  the  community," 
she  said.  "We'd  like  to  see  stronger  bridges 
between  media  outlets  and  the  public." 

Also  present  at  the  conference  were 
FCC  commissioners  Michael  Copps  and 
Jonathan  Adelstein,  who  asked  for  the 
public's  aid  in  getting  their  agency  to  with- 
stand new  efforts  to  loosen  up  rules  allow- 
ing big  corporations  to  buy  more  TV  and 
radio  stations.  While  the  conference  drew 
tons  of  media  attention,  it  remains  to  be 
seen  whether  or  not  it  will  actually  be  an 
effective  tool  for  media  reform. 

"Reform  is  a  long-term  investment 
with  lots  of  moving  parts  and  pieces,"  said 
attendee  Karen  Helmerson,  director  of 
the  Electronic  Media  and  Film  Program 
at  the  New  York  State  Council  on  the 
Arts.  Myatt  agreed,  adding:  "Media 
impacts  every  aspect  of  our  lives. 
Something  terribly  wrong  has  happened, 
and  it's  incumbent  upon  us  to  rectify 
what's  wrong."  "k 


Film/Video 

Bachelor  of  Fine  Arts 


Digital  Video  •  16mm  Film  •  Lighting/Set  Design 
Cinematography  •  Film  Editing  •  Audio-Post  Production 
Script  Writing  •  Film  History  •  AVID  Non-Linear  Editing 
Directing 


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HVE  TOWNS  COLLEGE 

E-mail  Admissions@ftc.edu 

305  N.  Service  Road  Dix  Hills,  N.Y.  11746-5871 


Please  soul  me  a  Five  Towns  College  Catalog 


Name  _ 
Address 
Town  — 


State/Zip 

Telephone  (  - 
Email  Address  _ 
Year  of  Interest 


I    I  hall  □  Spring  □  Summer 


□  l  adergraduate    □  Graduate 


July/August  2005  I  The  Independent     13 


UTILIZE  IT 


Tools  You  Can  Use 


By  David  Aim 


Fisheye  lens 


A  Fisheye  View 

This  spring,  Van  Nuys-based 
Schneider  Optics  introduced  a  new  fish- 
eye lens  designed  specifically  for  con- 
sumer DV  camcorders.  Priced  below 
$3,000,  the  Xtreme  Fisheye  mounts 
directly  onto  the  front  of  a  camcorder's 
lens  to  provide  a  horizontal  angled  view 
of  approximately  160  degrees.  The  man- 
ufacturer touts  the  lens's  suitability 
for  action  sports  footage, 
music  videos,  and  tight 
shots  that  might  be  impos- 
sible without  such  a  wide- 
angle  lens.  Acid  trips, 
voyeur  POV  shots,  and 
other  such  uses  are  up  to 
you  and  your  creative 
discretion. 
www.centuryoptics.com 


WingBag 


It's  in  the  Bag 

Two  new  bags  from  Petrol,  a 
Tel  Aviv-based  bag-manufacturing  firm, 
prove  that  your  camera's  carriage  can  be 
almost  as  complex  as  the  camera  itself. 
Made  of  heavy-duty  Cordura  and  ballis- 
tic nylon  over  multiple  layers  of  shock- 
absorbent  foam  padding,  the  lightweight 
WingBag  and  WingRoll  bags  are  tailored 
specifically  for  Sony  HVR-ZIU  and 
HDR-FX1  camcorders.  Featuring  multi- 
ple  compartments,    semi-rigid   dividers, 


mesh  pockets,  and 

even    an    adjustable 

ergonomic     shoulder 

strap,  the  WingBag  sells 

for   $199.    If  long  walks 

await  your  next  shoot,  you  might  opt  for 

the    WingRoll,    equipped    with    inline 

skates  and  a  square-frame  tote  bar,  for 

$229.   www.petrolbags.com. 

Another  option  lor  those  whose 
projects  take  them  to 
the  mountains,  white- 
water  rapids,  or  just 
the  inclement  streets 
of  Manhattan  comes 
from  Centennial, 
Colorado-based  bag- 
makers,  M-ROCK. 
With  names  like 
Cascade,  Niagara,  and 
High  Sierra,  M-ROCK's 
bags  are  designed  for 
rough  play  and  condi- 
tions. The  company's 
latest  edition  combines  its  Yellowstone,  a 
large  bag  that  can  accommodate  any  dig- 
ital SLR  camera  and  features  a  weather 
jacket,  rainflap,  straps  for  your  raincoat 
or  tripod,  and  shoulder  straps  that  allow 
the  bag  to  be  worn  as  a  back — or  chest- 
pack,  with  two  smaller  bags  for  your 
mini-cams  and  accessories — the  Biscayne 
Bay  and  the  Yosemite — attached. 
www.m-rock.com 


M-ROCK  Yosemite  bag 


Sweet  Suite 

Convergence  is 

great,  allowing  web 
designers  to  foray  into 
filmmaking,  photogra- 
phers into  web  design, 
and  just  about  any  other 
move  within  the  new 
media  landscape  you  can 
imagine.  But  keeping  all  that 
software  straight  is  enough  to 
drive  anyone  mad.  Hence  Creative  Suite, 
a  new  "design  environment"  from  Adobe 
that  consists  of  many  of  the  company's 
most  useful  programs,  such  as 
Photoshop,  InDesign,  and  Illustrator. 
The  standard  package  includes  six  pro- 
grams for  $899.  And  for  an  extra  two, 
pony  up:  the  premium  suite  runs  $1,199. 
www.adobe.com 

Go,  Go,  Go! 

Lightweight,  handheld  cameras  availed 
a  whole  new  world  to  filmmakers  when 
they  first  hit  the  scene.  Now,  with  laptops 
and  wireless  technology,  the  same  can  be 
said  for  the  back-end:  editing  and  pro- 
duction. Fronting  this  effort  comes  Incite 
RP,  an  editing  software  package  from  the 
Geneva-based  Incite  Avexco  Corpor- 
ation. Incite  RP  essentially  turns  any  lap- 
top (or  desktop)  into  a  complete  DV  pro- 
duction suite  by  streamlining  all  aspects 
of  the  digital  production  process  into  one 
mobile  program.  It  is  designed  to  keep 
pace  with  ever-advancing  developments 
in  HD  and  SD  hardware  and  can  expand 
to  accommodate  new  file  formats  of 
MXF,  XD  CAM,  and  HDV 
www.inciteonline.com  *k 


14  The  Independent  I  July/August  2005 


PRODUCTION  JOURNAL 


Faces  of 
Change 


By  Michele  Stephenson 

The  concept  was  to  bring  five 
human  rights  activists  from 
around  the  world  to  New  York 
City  for  an  intensive  video  workshop — 
each  activist  would  receive  their  own 
camera.  We  would  all  brainstorm  on 
what  stories  they  wanted  to  tell  about 
their  communities  and  how  to  tell  them. 
My  task  was  to  train  the  activists  and 
later  interweave  their  visual  stories  into  a 
coherent  feature-length  documentary.  It 
sounded  simple  enough.  I  had  done 
video  training  workshops  with  grassroots 
activists  in  the  past  and  had  conducted 
them  in  different  parts  of  the  world.  But 
prior  field  experience  couldn't  have  pre- 
pared me  for  what  was  to  come. 

The  participants  on  this  international 
story  were:  an  African  American  environ- 
mental activist;  a  Roma  ("Gypsy")  attor- 
ney from  Bulgaria;  an  Afro-Brazilian  teen 
counselor  from  Northeast  Brazil;  A  Dalit 
("Untouchable")  activist  from  southern 
India;  and  an  ex-slave  from  Mauritania, 
Africa.  Production  started  in  June  2001, 
and  in  a  pre-  9/11  world,  the  visa  process 
for  getting  them  all  here  was  smoother 
than  expected.  The  major  obstacle  came 
from        our       Mauritanian        partner, 


An  unpredictable  convergence  of 
human  rights  activists 


Mohamed,  who  worked  with  an  under- 
ground abolitionist  movement  treeing 
slaves  and  offering  them  better  life 
opportunities.  Because  of  the  kind  of 
work  he  did,  Mohamed  was  extremely 
vigilant  and  at  times  seemed  paranoid. 
The  Mauritanian  government  had 
Mohamed  and  his  colleagues  under  sur- 
veillance. We  soon  found  out  that 
Mohamed's  plane  ticket  to  New  York 
City  was  being  withheld  at  customs  in 
Mauritania.  He  was  convinced  that  his 
ticket  was  being  purposely  kept  in  order 
to  stop  him  from  attending  the  work- 
shop. He  almost  didn't  make  it. 

Stubborn  as  our  team  was,  we  did  not 
allow  Mohamed's  initial  absence  to  dis- 
suade us.  Unable  to  get  through  to 
Mohamed  by  phone,  I  must  have  gone 
five  or  six  times  to  JFK  airport  to  see  if  he 
had  arrived.  We  hoped  he  had  gotten  his 
ticket  in  time  for  the  workshop.  But  no 
such  luck.  His  ticket  was  finally  released 


from  customs,  but  too  late  for  him  to  get 
the  chance  to  meet  the  other  participants. 
He  finally  made  it  to  New  York,  and  I 


July/August  2005  I  The  Independent     15 


Digital /Analog 

Film,  Video  &  Web  Production 

AVID  AND  FINAL  CUT  PRO  SUITES 

POST-PRODUCTION  SPECIALISTS 

AFTER  EFFECTS  /  MOTION  GRAPHICS 

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DOCUMENTARIES  AND  NARRATIVES 


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was  able  to  conduct  a  one-on-one  work- 
shop with  him  that  lasted  over  four  days. 
By  the  time  he  returned  home,  his  confi- 
dence was  up  and  he  was  ready  to  roll. 

The  workshop  also  brought  many 
unexpected  revelations  and  connections. 
We  started  by  sharing  our  personal  expe- 
riences of  discrimination  and  racism. 
Each  of  our  stories  was  extremely 
poignant  and  moving,  but  the  most 
revealing  was  that  all  were  similar  and 
somehow  interconnected.  Across  the 
board  it  was  obvious  that  our  sense  of  self 
worth  and  entitlement  had  been  tainted 
and  partially  shaped  by  the  pressures  of 
institutional  discrimination  and  lack  of 
opportunity.  Could  the  camera  help  us 
become  more  whole,  help  us  heal  the  psy- 
chological damage  we  had  all  suffered 
due  to  the  pervasive  nature  of  prejudice 
around  our  everyday  lives?  We  had  to 
wait  and  see. 


Kathir  filming  in  India:  He  interviewed  victims  of  extreme  caste 
violence  (Michele  Stephenson) 


Whereas  our  personal  stories  connect- 
ed us  as  human  beings,  it  was  also  obvi- 
ous that  many  of  us  had  thrown  our 
entire  selves,  for  different  reasons — some 
noble,  some  less  noble — into  huge  insti- 
tutional battles  to  improve  members  of 
our  respective  communities.  It  was  obvi- 
ous our  partners  were  on  the  frontlines  of 
the  fight  for  equality  in  their  countries, 
documenting  atrocious  living  conditions 
and,  in  some  cases,  literally  risking  their 
lives.  Kathir  in  India,  for  example,  was 
busy    interviewing    victims    of  extreme 


caste  violence  in  village  communities; 
whereas  Nara,  in  Brazil,  was  working 
with  black  girls  as  young  as  1 1  who 
found  themselves  pregnant  and  out  of 
school  for  good.  Mohamed  was  con- 
fronting government  officials  and  con- 
ducting clandestine  interviews  with 
enslaved  people.  What  had  also  become 
obvious  at  each  arrival  of  a  new  tape  was 
a  greater  sense  of  confidence  from  our 
partners,  both  in  what  they  shot  as  well  as 
in  their  message. 

On  the  final  phase  of  production  I 
traveled  to  shoot  our  partners  in  their 
countries.  The  first  stop:  New  Orleans. 
Then  off  to  Bulgaria,  Brazil,  India  and 
finally,  Mauritania.  Production  took 
close  to  a  year  to  complete.  The  most 
dramatically  memorable  moments 
occurred  in  Mauritania.  Every  aspect  of 
my  psychological  makeup  would  be 
tested  during  that  10-day  visit.  Although 
mind-blowing 
events  occurred  in 
every  country,  our 
misadventures  in 
Mauritania  are 
enough  of  a 
glimpse  to  give  a 
sense  of  what  we 
were  all  up  against. 
Before  traveling 
to  a  muslim  coun- 
try like  Mauri- 
tania with  another 
woman  and  with  a 
tourist  visa,  I  had 
consulted  with  the 
underground 
Mauritania  activists 
both  in  New  York 
and  Mauritania. 

According  to  them,  if  I  were  to  travel  with 
a  journalist  visa  I  risked  the  possibility  of 
having  a  government  agent  follow  my  every 
move.  The  problem  was  that  since 
Mauritania  gets  little  to  no  tourism,  we 
had  to  have  a  cover.  We  had  to  obtain  a 
visa  to  Mali  to  explain,  if  we  were  ever 
stopped,  that  we  were  visiting  the  region 
and  were  on  our  way  to  Mali,  a  more 
attractive  tourist  destination. 

About  a  week  before  we  were  sched- 
uled to  leave,  Mauritanian  army  officers 
attempted  a  coup  to  overthrow  the  presi- 


16    The  Independent  I  July/August  2005 


The  most  dramatically  memorable  moments  of  production  occurred  in  Mauritania  (Michele  Stephenson) 


dent,  Ahmed  Taya.  The  attempted  coup 
failed,  but  it  left  the  capital  city  and  the 
government  on  edge,  searching  every 
nook  and  cranny  for  potential  dissidents. 
My  executive  producer  suggested  I  cancel 
the  trip.  He  was  concerned  for  my  safety 
and  possible  liability  issues  if  something 
were  to  happen  to  our  two-person  crew.  I 
consulted  with  Mohamed.  He  seemed 
very  calm  on  the  phone  and  explained  that 
it  would  be  safe  for  me  to  come.  My  DP 
was  ready  and  eager  to  go.  After  much  dis- 
cussion with  her  and  with  my  family,  I 
made  the  decision  to  keep  to  the  planned 
schedule.  This  project  had  to  be  finished, 
and  any  further  delays  would  not  guaran- 
tee that  the  country  would  be  any  safer 
later  in  the  year. 

In  Mauritania's  capital  city,  there  were 
checkpoints  at  every  street  corner  and 
identity  papers  were  checked  at  every  road 
leading  out  of  the  city.  Our  driver,  Diaw, 
had  to  get  out  of  his  car  to  open  his  trunk 
for  police  checks  at  least  10  to  12  times  a 
day.  On  our  first  meeting  at  the  hotel, 


Mohamed  instructed  me  that  we  could 
never  be  seen  together.  He  had  not  pre- 
pared me  for  this  in  our  email  communi- 
cations prior  to  my  trip.  We  would  have  to 
drive  to  his  house  in  the  evening,  hide  the 
car  and  interview  him  and  his  family 
there.  Since  the  workshop  and  because  of 
Mohamed's  use  of  the  camera,  he  had 
acquired  significant  political  clout  within 
the  abolitionist  movement  and  within 
larger  Mauritanian  political  circles.  As  a 
result,  he  was  encouraged  to  run  for 
mayor  of  his  district,  and  he  won  the  race. 
This  new  job  meant  his  actions  were 
under  even  more  surveillance  than  before. 
So,  we  devised  a  tape  circulation  system 
so  the  sensitive  tapes  we  recorded  would 
not  stay  in  our  possession  and  would 
immediately  be  sent  to  New  York  on  a 
daily  basis.  We  would,  of  course  keep  the 
beauty  shots  that  were  on  tape  with  us  so 
as  not  to  blow  our  tourist  cover  in  case  we 
were  searched.  We  would  shoot  during  the 
day,  make  dubs  of  the  tapes  at  night  in  our 
hotel  rooms,  stop  by  DHL  in  the  morn- 


ing, and  send  off  the  masters  to  our  office 
in  Harlem.  The  dubs  would  stay  in 
Mohamed's  home  for  safe  keeping  if  for 
some  reason  the  masters  never  made  it  to 
Harlem.  Although  time  consuming,  this 
system  proved  indispensable,  because  on 
two  separate  occasions  our  covers  were 
almost  blown. 

The  shooting  restrictions  severely  lim- 
ited what  I  had  set  out  to  capture  prior  to 
our  trip.  Our  cover  was  almost  blown  on 
one  occasion  when  we  went  to  the  more 
affluent  neighborhoods  of  the  capital 
city,  Nouakchott  to  shoot,  and  were 
stopped  by  a  light-skinned  female 
Mauritanian  pulling  out  of  her  driveway. 
She  got  out  of  her  car  and  started  to  yell 
at  my  DP,  demanding  to  confiscate  the 
tape  that  was  in  the  camera.  I  began 
pleading  with  her — in  my  mind  there 
was  no  way  I  was  going  to  give  up  that 
tape.  We  had  a  whole  day's  worth  of 
work  on  it  and  could  not  return  to  some 
of  the  locations  we  had  covered.  At  each 
resistance  she   became   more   hysterical. 


July/August  2005  I  The  Independent     17 


SCHOOL  OF  MOTION  PICTURES  &  TELEVISION 

Artwork  by  Ken  Quitigua 


'**" 


sweep  floors  or 
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&  Special  Effects 

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BY  ARTISTS  FOR  ARTISTS 


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(BFA-IAD),  NAAB  -  Candidate  Status  (M-ARCH) 


People  had  started  to  gather  around  us 
to  find  out  what  all  the  yelling  and  com- 
motion was  about. 

Diaw  tried  to  explain  that  we  were 
simply  tourists  shooting  various  scenes  of 
Nouakchott,  that  we  meant  no  harm.  She 
remained  unconvinced  and  doggedly 
stubborn.  She  then  insisted  that  we  go 
with  her  to  the  home  of  her  "private 
videographer"  to  erase  the  images  from 
our  tape.  I  agreed  so  long  as  we  followed 
her  in  our  car.  She  didn't  go  for  that.  We 
had  to  go  in  her  car  or  no  deal.  In  a  split 
second,  I  had  to  make  a  decision:  perhaps 
risk  my  life  and  get  in  the  car  with  her — 
having  no  idea  where  I  would  end  up — 
or  give  up  the  tape  before  more  of  a  scan- 
dal broke  out  and  the  police  arrived.  I 
looked  at  her,  sweat  dripping  from  my 
brow  and  feeling  queasy.  Based  on  some 
gut  feeling,  I  agreed  to  get  in  her  car.  All 
I  could  think  was,  I  cannot  give  up  this 
tape,  there  was  too  much  hard  work  put 
into  it,  and  we  had  come  so  far. 

It  turned  out  that  her  "personal  video- 
grapher" worked  on  wedding  shoots.  He 
was  in  the  midst  of  cutting  an  upper-class 
wedding  when  we  showed  up.  My  DP 
proceeded  to  erase  the  image  of  her  home, 
the  wedding  man  checked  our  tape,  and 


in  less  than  five  minutes,  we  were  speed- 
ing away  from  that  house  as  fast  as  we 
could.  I  later  found  out  that  the  woman, 
the  daughter  of  a  deposed  minister,  was 
afraid  the  government  would  come  after 
her  and  her  family.  Everyone  in 
Mauritania,  as  it  turned  out,  was  on  pins 
and  needles,  not  knowing  what  to  expect. 
So,  in  her  eyes  we  were  suspect  too. 

Back  home  the  biggest  challenge  I  had 
yet  to  face  was  to  piece  together  these  five 
eye-opening  stories  into  a  coherent  narra- 
tive that  retained  the  distinctive  voice  of 
each  activist.  Interestingly,  the  moments 
we  shared  while  the  camera  was  off 
accentuated  the  commonality  of  our 
experiences  and  transformed  us  in  ways 
that  are  hard  to  translate  onto  the  screen. 
Most  importantly,  and  what  was  not  lost 
to  me  or  our  partners,  was  that  the 
process  of  passing  on  knowledge  through 
the  training  and  the  filmmaking  process 
itself  were  as  valuable  in  effecting  change 
as  getting  their  stories  out  there  to  a  larg- 
er audience.  The  human  connections  we 
made  will  stay  with  us  much  beyond  the 
distribution  life  of  the  film,  "k 

*  Faces  of  Change  premiered  at  the  Silver 
Docs  Film  Festival  in  June  2005. 


18    The  Independent  I  July/August  2005 


'ROF11F 


The  German  Mystique 

Margarethe  von  Trotta  is  not  a  feminist 


By  Sarah  Coleman 

Margarethe  von  Trotta  doesn't 
want  to  be  known  for  "always 
making  films  about  women, 
women,  women."  But  when  her  former 
husband,  the  renowned  German  director 
Volker  Schlondorff,  came  to  her  with  the 
idea  for  her  breakthrough  2003  movie 
Rosenstrasse,  she  couldn't  resist — even 
though  it  was  another  movie  that  pits 
vibrant,  courageous  women  against  social 
and  political  forces  that  are  hostile 
toward  them. 

For  one  thing,  the  story  of 
Rosenstrasse — a  week-long  protest  held  in 
1943  by  Aryan  women  whose  Jewish 
husbands  were  being  imprisoned  by  the 
Nazis — had  never  been  told.  "Even  in 
Berlin,  the  story  was  not  known,"  von 
Trotta  says  in  a  phone  interview  from 
Munich,  where  the  filmmaker  was  prepar- 
ing for  her  next  film.  Hardly  anyone 
knew  that  intermarried  Jews  had  been 
spared  from  deportation  until  1943  or 
that  in  that  year,  a  group  of  determined 
non-Jewish  women  massed  together 
against  the  Nazi  machine  and  succeeded 
in  breaking  Hitler's  will. 

The  story  was  undeniably  strong,  but 
telling  it  wouldn't  prove  easy.  At  the  time 
when  she  was  trying  to  raise  funds  for  the 
movie,  Germany  was  suddenly  discover- 
ing its  funny  bone.  "All  the  producers 
wanted  to  do  comedies,  and  not  very 
sophisticated  ones,"  von  Trotta  says. 
When  it  came  to  the  Holocaust,  there  was 
a  feeling  in  Germany  that  "we  don't  want 
to  hear  about  this  time  any  more,"  she 
says.  But  von  Trotta  doggedly  pursued  the 
project  for  nine  years — her  own  reluc- 
tance to  make  another  female-centered 
movie  melting  away  as  she  interviewed 
about  a  dozen  survivors  of  the  incident. 


"These  people  were  so  fond  of  the  idea, 
and  they  knew  my  other  films,  so  they 
trusted  me,"  she  says,  adding,  "I  always 
need  a  very  personal  motivation  to  do 
something." 

That  kind  of  careful  research,  along  with 
an  intensely  personal  connection  to  her 
subject  matter,  characterizes  the  oeuvre  of 
Margarethe  von  Trotta.  The  lone  woman  in 
a  bunch  of  talented  directors  to  emerge  as 
part  of  the  New  German  Cinema  move- 
ment in  the  1970s,  von  Trotta  has  built  a 
reputation  as  a  boldly  independent  and — 
though  she  may  hate  the  term — feminist 
filmmaker.  Her  best  movies  tell  stories 
about  strong  women  whose  personal  lives 
intersect  with  larger  political  forces  and 
whose  pluck  leads  them  in  unexpected 
directions.  But  these  aren't  one-dimension- 
al, idealized  Mother  Courage  types.  Often 
dark,  always  complicated,  von  Trotta's 
women  are  anything  but  predictable. 


Take,  for  example,  Christa  Klages,  the 
heroine  of  her  1977  debut  solo  film  The 
Second  Awakening  of  Christa  Klages.  The 
screenplay,  written  by  von  Trotta,  was 
inspired  by  a  news  story  that  swept 
Germany  in  the  mid-1970s:  that  of  Margit 
Czenki,  a  kindergarten  teacher  who 
robbed  a  bank  to  prevent  her  school  from 
closing  down.  "She  was  treated  in  the 
newspapers  like  a  criminal,  but  on  the 
other  hand  I  saw  that  she  was  so  sympa- 
thetic, and  she  had  such  a  good  heart," 
says  von  Trotta,  who  then  decided  to  visit 
Czenki  in  prison.  The  two  corresponded 
until  Czenki  was  released.  Von  Trotta  later 
wrote  a  story,  loosely  based  on  Czenki's 
experience,  that  examines  the  effects  of 
crime  on  the  psyche.  In  Christa,  she  drew 
a  powerful  portrait  of  a  woman  whose 
good  heart  and  fighting  spirit  prove  to  be  a 
fatal  combination. 

The  film  is  notable  for  another  reason, 


July/August  2005  I  The  Independent     19 


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too.  True  to  her  vision  of  female  solidari- 
ty, the  director  gave  Czenki  a  cameo  in 
the  movie  and  a  job  as  its  script  supervi- 
sor. The  ex-con  went  on  to  supervise 
scripts  for  von  Trotta's  next  two  movies 
before  moving  up  to  assistant  director, 
and  then  directing  two  movies  of  her 
own — a  rehabilitation  that  pleases  her 
mentor  immensely. 

The  Second  Awakening  ofChrista  Klages 
represented  a  career  turning  point  for  von 
Trotta  as  well.  For  over  a  decade  shed 
wanted  to  direct  movies,  but  in  the  1960s 
and  early  70s,  Germany's  film  industry 
was  in  decline.  Like  other  Germans  with 
artistic  aspirations,  von  Trotta  had  gone  to 
Paris  after  she  graduated  from  high  school 
in  the  early  1960s.  She  was  supposed  to 
be  studying  French  literature  and  art  his- 
tory, but  instead  she  was  drawn  to  movie 
theaters.  "My  university  was  the  cinema," 
she  says. 

And  what  cinema  it  was:  Francois 
Truffaut,  Ingmar  Bergman,  Alfred 
Hitchcock,  and  Claude  Chabrol  were  all 
at  the  height  of  their  careers.  The  French 
New  Wave  was  in  full  force,  with  movies 
like  Truffaut's  Jules  and  Jim  and  Jean-Luc 
Godard's  Breathless  jolting  audiences  out 
of  their  comfort  zones.  Von  Trotta  gravi- 
tated to  Bergman  the  most,  attracted  by 
the  Swedish  director's  combination  of 
artistry  and  psychological  insight.  The 
first  Bergman  film  she  ever  saw  was  The 
Seventh  Seal,  and  she  remembers  how  its 
opening  scene,  with  Death  and  the 
Chevalier  playing  chess  on  the  beach,  was 
"for  me,  absolutely  a  culture  shock.  Very 
mystical." 

To  satisfy  her  filmmaking  lust  von 
Trotta  joined  a  student  film  collective, 
and  then  started  acting.  Things  moved 
onto  a  fast  track  when  she  met  Volker 
Schlondorff,  who  also  studied  in  Paris  in 
the  1960s.  The  two  married,  and  von 
Trotta  wrote  the  scripts  for  several  of 
Schlondorff 's  films  and  became  his  assis- 
tant director  before  taking  the  helm  in 
1977  for  The  Second  Awakening  of  Christa 
Klages. 

What  she  learned  in  Paris,  she  says,  was 
that  cinema  could  aspire  to  the  level  of 
fine  art — an  important  lesson  for  the 
daughter  of  a  painter.  (Von  Trotta's  father, 
Alfred  Roloff,  was  a  successful,  married 
artist  when  he  met  Elisabeth  von  Trotta, 


an  aristocrat's  daughter  whose  family  had 
fled  Moscow  during  the  Russian 
Revolution.)  "My  mother  always  told  me 
that  she  could  never  obey  a  man  or  be 
dependent  on  him,  so  even  if  my  father 
hadn't  been  married,  she  would  have 
stayed  single,"  von  Trotta  says.  Much  of 
this  director's  empathy  for  women  and 
her  attraction  to  themes  of  female 
courage  and  friendship  can  be  traced 
back  to  her  independent-minded  moth- 
er. 

The  von  Trotta  family  was  poor  in  for- 
tune but  rich  in  cultural  appreciation.  As 
a  young  girl,  von  Trotta  tried  to  follow  in 
her  father's  footsteps  by  painting,  but  she 
says,  "I  knew  quickly  that  I  had  no  tal- 
ent." What  she  had  a  talent  for  was  stir- 
ring up  trouble.  "My  mother  was  called 
to  my  school  many  times,  and  the  teach- 
ers told  her  I  was  too  impertinent."  Her 
mother  promised  to  reprimand  von 
Trotta,  and  then,  once  home,  told  her  to 
carry  on  doing  what  she  was  doing.  Von 
Trotta  chuckles.  "She  said,  'Go  on.  Don't 
be  too  shy.  Assert  yourself" 

A  self-portrait  of  von  Trotta  in  her 
feisty  teenage  years  can  be  seen  in 
Marianne  and  Julianne,  her  1981  movie 
about  two  sisters  who  grapple  with  poli- 
tics in  very  different  ways.  The  two  hero- 
ines are  the  daughters  of  a  clergyman 
who  grow  up  in  the  repressive  atmos- 
phere of  the  1950s,  longing  to  break  out 
of  their  narrow  world.  The  girls  have 
opposite  trajectories:  Julianne,  a  fearless 
and  brazen  teenager,  becomes  a  rather 
cautious  reporter  and  pro-life  activist, 
while  the  more  timid  Marianne  grows 
into  an  uncompromising  revolutionary 
who  embraces  violence  by  joining  one  of 
Germany's  infamous  terrorist  groups  of 
the  1970s. 

At  one  point  in  the  movie,  when 
Julianne  visits  Marianne  in  prison,  her 
face  is  superimposed  upon  her  sister's  in 
the  glass  that  separates  them  from  each 
other — an  image  that,  von  Trotta  says, 
speaks  to  the  complexity  of  human 
nature.  "In  many  of  my  movies,  it's  as 
though  these  two  women  or  three 
women  could  always  be  one."  She  cred- 
its Hitchcock  as  being  the  finest 
exploiter  of  this  idea,  though  Bergman's 
Persona  is  clearly  also  an  influence.  "It's 
like  a  splitting-up  of  the  self — you  have 


20    The  Independent  I  July/August  2005 


Lena,  Ruth,  Schles,  and  Goldi  in  Rosenstrasse  (courtesy  of  IDP  Film) 


always  a  dark  side  and  a  light  side." 

Her  current  project,  now  in  production 
in  Germany,  is  a  more  literal  version  of 
that  idea.  It's  about  a  woman  with  multi- 
ple personalities  and  will  star  Katja 
Riemann,  who  won  a  Best  Actress  award 
at  the  Venice  Film  Festival  lor  her  role  in 
Rosenstrasse.  The  screenplay  is  by  Peter 
Marthesheimer,  who  co-wrote  several  of 
Rainer  Werner  Fassbinder's  most 
acclaimed  movies  and  who  died  a  year 
ago — "So  now  it  becomes  a  sort  of  hom- 
age [to  him],"  von  Trotta  says. 

Psychological  complexity  also  comes  to 
the  fore  in  one  of  her  other  signature 
movies,  the  1986  biopic  Rosa  Luxemburg. 
Luxemburg,  known  as  "Red  Rosa,"  had 
become  almost  mythical  as  a  revolution- 
ary Socialist  of  the  early  1900s,  and  the 
question  was  how  to  turn  a  feminist  polit- 
ical icon  into  a  living,  breathing  human 
being.  Von  Trotta  started  by  accessing  the 
2,500  letters  of  Luxemburg's  that 
remained,  then  reading  them  five  times 
without  making  notes.  "I  thought  that 
after  those  five  times,  what  I  remembered 
about  her  would  be  the  things  that  inter- 
ested me,  the  points  at  which  we  came 
together."  It  turned  out  that  what  inter- 
ested her  was  the  intersection  of  Rosa's 
private  and  public  lives.  "She  was  a 
woman  who  wanted  it  all.  She  wanted  to 
have  children,  to  be  a  revolutionary,  to  be 
independent  but  also  to  be  loved,"  von 


Trotta  says,  noting  that  this  was  "the  same 
thing  that  women  wanted  at  the  time 
when  I  made  this  film." 

Another  of  her  intensely  political  films, 
The  Promise  (1995),  examines  the  effect 
of  Germany's  partition  and  reunification 
on  two  lovers  separated  by  the  Berlin  Wall 
(the  female  character  is,  naturally,  the 
more  gutsy  and  stronger  of  the  two). 
When  the  film  was  released  at  the  Berlin 
Film  Festival,  von  Trotta  took  some  heat 
from  people  who  felt  she  didn't  have  the 
right  to  make  it,  having  lived  in  Italy  for 
the  previous  six  years.  Actually,  she  says, 
being  a  relative  outsider  enabled  her  to 
take  on  such  charged  subject  matter.  "I 
thought  that  after  the  Wall  came  down,  it 
would  be  a  theme  that  many  German 
filmmakers  would  jump  on — but  in  fact, 
people  who  were  inside  Germany  were  so 
paralyzed  by  this  new  development  that 
they  feared  to  touch  it.  I  came  from  the 
outside,  so  I  had  no  fear." 

Call  her  fearless,  call  her  independ- 
ent— but  don't  call  her  a  feminist  or 
political  filmmaker.  "It's  a  ghetto — too 
restrictive,"  she  says  of  the  terms.  She 
prefers  to  think  of  her  filmmaking  as  a 
combination  of  exhaling  and  inhaling. 
"When  I'm  exhaling  I'm  looking  outside, 
at  politics  and  history.  When  I'm  inhal- 
ing, I'm  doing  personal  themes,"  she 
says.  For  the  organism  to  stay  alive,  both 
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July/August  2005  I  The  Independent  21 


the  Documentary  Doctor 


By  Fernanda  Rossi 

Dear  Doc  Doctor: 

I'm  planning  to  make  a  documentary 
abroad.  Am  I  better  off  bringing  my 
own  crew  or  hiring  there? 

Making  films  outside  the  United  States 
is  sometimes  clouded  by  the  enthusiasm 
of  being  able  to  mix  work  and  pleasure  in 
an  exotic  remote  location.  But  gathering 
the  right  crew  can  determine  the  ratio  of 
vacation  to  work  you  will  experience, 
because  the  vacation  will  come  to  a 
sudden  halt  as  soon  as  the  camera  plug 
doesn't  match  the  socket  in  the  wall. 

I  have  found  a  pattern  among  the  film- 
makers I've  consulted  with  who  choose  to 
film  abroad:  those  who  speak  the  local 
language,  have  visited  often,  or  even  lived 
where  they  are  shooting  are  more  likely  to 
hire  locally;  and  those  who  only  relate  to 
the  place  in  terms  of  their  film  project, 
who  are  in  turn  more  likely  to  bring 
an  entire  crew  without  pondering  any 
alternative. 

Working  with  a  local  crew  has  some 
great  advantages.  First  of  all,  resident 
crews  know  the  ins  and  outs  of  their  geo- 
graphical markets  and  will  be  more  ready 
to  deal  with  the  everyday  challenges.  In 
terms  of  the  budget,  you  not  only  save  on 


traveling  and  accommodations  expenses 
for  a  crew  you  would  bring  from  the 
States,  but  local  crew  wages  abroad  are 
often  within  an  independent  filmmaker's 
range  (with  the  exception  of  Europe  and 
Japan,  of  course),  which  allows  you  to  be 
more  generous  with  them. 

And  if  you  can  stay  for  the  edit,  all  the 
better — nothing  can  make  up  for  an  edi- 
tor with  full  command  of  a  language  and 
the  subtleties  of  communication  within  a 
culture.  Finally,  many  governments  have 
financial  incentives  for  those  hiring  local 
key  personnel. 

However,  if  you  and  your  producer  are 
joined  at  the  hip  or  you  have  a  longstand- 
ing relationship  with  your  DP,  the 
thought  of  starting  anew  with  a  stranger 
whom  you  may  not  work  with  again  may 


seem  completely  unacceptable.  Other 
times  it's  just  not  possible  for  whatever 
reason — maybe  because  your  film  needs 
to  be  shot  in  several  different  countries. 
But  there  are  more  than  just  production, 
financial,  or  practical  reasons  for  encour- 
aging at  least  a  combined  crew. 

In  the  words  of  anthropologist  and 
filmmaker  Pegi  Vail,  who  shot  her  film  in 
numerous  countries  and  was  recently  the 
curator  of  First  Nations\First  Features:  A 
World  Showcase  of  Indigenous  Film  and 
Media  at  the  MoMA  in  New  York:  "We 
should  also  consider  the  relationship  of 
the  filmmaker  to  the  communities  within 
which  they  film,  long  after  production 
has  wrapped.  Supporting  filmmakers  in 
developing  nations  with  funds  or  produc- 
tion training  to  tell  their  own  stories  or  to 
better  position  themselves  for  working 
with  visiting  producers  can  only  enhance 
the  experience  of  making  a  film  abroad." 
So  when  you  get  on  the  plane  back  home, 
you  didn't  just  take  something,  you  also 
left  something  valuable  behind. 

Dear  Doc  Doctor: 

My  film  is  shot  completely  abroad  and 
on  a  foreign  issue.  Does  that  make  it  a 


22  The  Independent  I  July/August  2005 


foreign  film  even  though  I'm  American? 
And  how  might  that  affect  my  fixture 
grant  and  festival  applications? 

In  this  ever  shrinking  global  village  of 
growing  film  budgets,  country  borders 
may  be  getting  harder  to  determine,  but 
they  are  never  forgotten.  Because  as  your 
question  implied,  qualifying  for  the 
"world  cinema"  slot  can  have  significant 
and  positive  impact  on  the  distribution 
of  your  film — it  may  also  make  it  ineligi- 
ble for  certain  domestic  grants. 

Grants,  festivals,  and  everybody  in  the 
film  business  for  that  matter,  abide  by 
some  flexible  guidelines  to  determine 
what's  foreign  and  what's  American. 
Content  is  not  the  main  one.  Milton 
Tabbot,  managing  director  of  the  docu- 
mentary funding  programs  and  screening 
series  of  the  IFP  says,  "The  Radziwill 
Documentary  Fund  is  a  development 
grant,  so  the  only  criteria  in  terms  of 
qualifying  as  an  American  project  is  that 
the  producer,  director  and/or  production 
company  be  American  or  a  legal 
American  resident." 

Things  change,  though,  when  other 
monies  come  into  play.  Milton  contin- 


ues, "The  IFP  Market,  which  for  docu- 
mentaries is  also  limited  to  American 
films,  accepts  shorts,  works-in-progress, 
and  completed  films.  In  that  case,  we  also 
take  into  account  the  percentage  of 
domestic  and  foreign  financing  to  deter- 
mine whether  they  qualify  as  an 
American  production." 

Conversely,  you  can  decide  based  on 
the  above  if  you  qualify  for  those  grants 
and  festivals  that  do  have  a  "world  cine- 
ma" slot  or  program.  But  don't  be  too 
hasty — if  you  are  not  a  fully  foreign  pro- 
duction, there  is  no  point  in  forcing  the 
issue.  For  that  matter  the  /  (slash)  has 
been  created:  US/Mexico,  US/France, 
US/Indonesia.  Co-productions  are  often 
a  more  accurate  description  and  one  that 
you  should  definitely  try  to  explore  if  you 
worked  abroad  on  an  international  issue. 

A  true  co-production  opens  many 
possibilities  and  opportunities,  with 
grants  and  festivals  more  willing  to 
accommodate  a  solid  co-production  than 
a  project  with  no  clear  boundaries.  So, 
rather  than  sweating  on  which  side  of  the 
border  you  should  stand,  become 
an  ambassador,  and  strengthen  those 
international  relationships,    it 


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July/August  2005  I  The  Independent  23 


FIRST  PERSON 


In  a  Galaxy  Far,  Far 


A  festival  in  the  world's  most  remote  capital  city 

By  Richard  Sowada,  founder  &  director,  Revelation  Film  Festival,  Perth,  Australia 


As  I  start  writing  this,  I've  just 
ejected  from  my  VCR  the  349th 
entry  for  this  year's  Revelation 
Perth  International  Film  Festival 
and... well... it  looks  like  I  picked  the 
wrong  week  to  quit  smoking. 

I  love  programming  the  event.  It's 
always  fascinating  to  see  how  distance 
and  borders  melt  under  the  influence  of 
common  themes.  It's  a  powerful  thing, 
and  this  year  it's  more  noticeable  than 
before. 

There's  no  question  that  there's  a  dark 
streak  running  through  the  creative  heart 
of  the  international  independent  sec- 
tor— I've  had  this  very  conversation  with 
a  number  of  festival  directors  and  cura- 
tors many  times  lately.  I  like  it  though — 
there's  a  very  real  and  deeply  critical 
approach  and  a  palpable  sense  of  a  per- 
sonal quest.  There's  something  very 
human  and  certainly  political  about  the 
strong  works  at  the  moment,  and  for  an 
event   like   Rev,    that's   something  we've 


always  been  connected  to. 

For  me,  Rev  has  been  an  intense  jour- 
ney. I'm  not  sure  about  other  film  festi- 
vals, but  Rev  is  a  work  in  progress.  Eight 
years  of  Rev  as  Rev  and  a  previous  six 
years  of  working  with  a  host  of  curated 
bar  and  club  projects  and  cinema  con- 
cepts as  a  distillation  of  the  idea,  intro- 
duced me  to  a  world  of  film  collectors, 
filmmakers,  forbidden  cinema  and  the 
wonderful  world  of  microcinema — all 
bubbling  just  below  the  surface  of  main- 
stream cinema. 

Although  we  made  a  serious  move  into 
cinemas  in  our  third  year,  the  microcine- 
ma is  still  at  Rev's  philosophical  heart. 
Microcinema  is  where  it's  at  and  really 
where  I  see  a  revolutionary  movement 
happening.  It's  real  DIY  exhibition  and 
distribution  with  the  added  punch  of  a 
"total"  experience.  It  embraces  both  artis- 
tic and  commercial  imperatives  and  is 
driven  by  single-minded  motivation. 

Rev's  philosophy  and  approach  is  sim- 


ple, and  the  background  of  the  event  is 
found  in  smoke-filled  noisy  bars  and  ven- 
ues well  outside  of  established  film  cir- 
cuits and  more  accustomed  to  wild  rock 
than  celluloid. 

As  a  part-time  archivist  with  a  decent 
collection  of  strange  16mm  educational 
films,  I  believe  a  real  film  experience 
requires  that  old  Bell  and  Howell 
whirring  in  the  background,  a  small 
room  packed  with  60  people  hungry  for 
something  new,  booze,  a  great  rock  PA 
sound,  pool  balls  cracking  together  some- 
where in  the  distance,  the  occasional 
wafting  of  pot  through  the  room,  the 
sleazy  house  band  cranking  up  in  the 
corner  between  films,  rare  (and  I  mean 
rare)  films  from  private  collections  and 
treasure-filled  archives,  and  the  spinning 
of  my  favorite  records  throughout 
an  evening's  entertainment.  In  this 
environment  there's  no  distributors,  no 
buy-'em-up  and  get-'em-out  commercial 
exhibition  dynamics — just  fans  on  every 


24  The  Independent  I  July/August  2005 


front.  It's  honest  and  raw,  and  it  draws 
directly  from  the  rich  carny  tradition  of 
the  great  independent  "roadshow"  pio- 
neers that  have  populated  the  darker  cor- 
ners of  exhibition  and  distribution  since 
film's  earliest  days. 

There's  a  show,  but  also  something 
deeper.  There's  an  immediate  connection 
with  history — not  only  in  being  part  of 
this  "outlaw"  fraternity  of  hit  and  run 
exhibitionists,  but  from  handling  great 
and  often  rare  pieces  of  history. 
Audiences  stand  right  next  to  you,  watch 
with  great  interest,  chat  about  movies  as 
you  thread  the  projector  and  make  shad- 
ow rabbit  heads  on  the  screen  while  the 
end  of  the  film  flicks  through.  Hit  the 
switch  and  the  audience  is  delivered 
works  made  by  Burroughs  or  Maysles  or 
Meyer  or  Marker  or  Conner — often  with 
prints  five  decades  old.  There's  a  direct 
connection  to  the  tradition  and  a  feeling 
of  unpredictable  discovery. 

There's  also  a  great  tactile  quality  when 
working  with  films  in  such  a  direct  way. 
Since  Rev's  inception  eight  years  ago, 
16mm  film  has  all  but  gone  the  way  of  8- 
track  tapes.  It's  a  real  shame,  especially 
when  working  with  the  older  films  that 
each  has  its  own  quality  and  character. 
They  run  through  the  projector  different- 
ly each  time — some  are  real  thick,  some 
brittle,  some  you  have  to  really  ride  the 
sound,  some  stink  with  age  and  some 
have  lost  all  their  color.  That's  one  of  the 
great  things,  too:  The  film  never  stops 
changing,  and  all  these  qualities  force  you 
to  pay  attention  to  it  from  the  moment 
you  take  it  out  of  the  can.  You're  forced  to 
examine  the  physical  and  visual  quality  of 
the  film  itself.  You've  got  to  focus  on  its 
character,  and  once  beyond  the  simple 
mechanics  there's  history  flashing  at  24 
frames  per  second.  Perhaps  these  deeper 
intricacies  are  not  picked  up  on  by  the 
audience  as  strongly  as  by  the  curator,  but 
I  think  the  audience  can  sense  the  per- 
sonality and  respond  actively  to  the 
archeological  effort. 

I  take  a  great  deal  of  inspiration  from 
the  "roadshow"  pioneers  and  their  under- 
standing of  psychology,  love  of  every- 
thing about  the  industry,  and  total  (dare 
I  say  obsessive)  dedication  to  reaching 
audiences  with  the  new  and  often  the 


taboo.  And  if  nothing  else,  like  my  carny 
kin,  I  learned  how  to  make  a  poster  glue 
so  strong  (brown  flour  and  a  dash  of 
caustic  soda  is  the  key)  that  there  are  still 
posters  on  the  street  that  I'm  sure  will 
outlast  me. 

Since  its  exclusively  16mm  microcine- 
ma  foundations  in  the  basement  back 
room  of  a  Perth  jazz  club  eight  years  ago, 
Rev  has  grown  to  embrace  all  film  and 
digital  formats  and  screens  now  at  five 
cinema  and  bar  venues  across  town  over 
10  days  to  audiences  totalling  10,000 
annually.  Our  audiences  continue  to 
grow  in  an  unforgiving  exhibition  envi- 
ronment and  for  2005  we  have  intro- 
duced a  screen  conference  focused  on  cre- 
ative imperatives  rather  than  commercial 
outcomes.  For  Australia,  this  is  a  major 
shift  and  one  that  receives  considerable 
resistance  in  a  disturbingly  market-driven 
economy.  There  is  no  question  Rev's 
approach  is  purist,  but  in  an  environ- 
ment of  creative  compromise,  this  hard- 
nosed  approach  has  served  us  well. 

Australia,  though,  is  not  an  easy  place 
for  screen  culture,  and  if  Australia  isn't 
easy,  Perth  can  be  like  carving  granite 
with  a  screwdriver — especially  when 
you're  talking  creativity  over  business. 
Perth  is  the  world's  most  remote  capital 
city.  Isolated  by  two  days  drive  to  the 
nearest  capital  city  there's  a  regular  mur- 
mur amongst  "middle  Perth"  as  to  the 
"evils  of  the  East"  (coast  that  is),  and  as  a 
result  Perth  has  developed  a  very  protec- 
tive, conservative  community  (we  have  a 
local  film  censorship  act  that  can  override 
that  of  the  national  censor  to  protect  the 
delicate  sensibilities  of  a  family-oriented 
city).  In  addition,  a  national  exhibition 
environment  dominated  by  distribution 
interests  that  are  directly  at  odds  with 
independent  screen  culture  makes  for  an 
interesting  ride. 

For  Rev,  these  industry  and  social 
dynamics  are  a  potent  mix,  one  that  the 
event  seeks  to  shake.  Toward  this  end,  I 
tend  to  take  a  Columbo  approach — you 
know,  the  bumbling  detective — where 
the  outward  approach  seems  oddly  ran- 
dom and  perhaps  slightly  erratic,  albeit 
strangely  likable.  Here,  the  event  does  its 
own  thing.  But  underlying  the  exterior, 
analyzing  the  patterns   of  the   industry 


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from  its  early  days  is  more  than  a  part- 
time  hobby  for  me.  Without  the  signifi- 
cant resources  available  to  the  more 
established  screen  events,  this  is  Rev's  pri- 
mary weapon.  It's  one  I  think  allows  it  to 
grow  and  one  that  allows  the  event  to 
more  than  just  respond  to  developments, 
but  be  an  active  part  of  them.  It  enables 
Rev  to  read  the  works  and  sector  and 
connects  it  to  a  much  deeper  industry 
context.  The  great  works,  the  great 
advances,  the  great  styles,  and  the  great 
movements  are  born  from  looking  deeply 
and  applying  or  rejecting  established 
intellectual  principles.  I  like  to  think  this 
is  what  Rev  does  in  its  business  structure, 
and  it's  certainly  what  it  actively  does  in 
its  programming. 

Moving  beyond  a  simple  point  of  exhi- 
bition and  into  this  deeper  territory  is 
both  the  challenge  and  the  strength  of  the 
festival.  Where  most  film  festivals  seem 
to  be  increasingly  dominated  by  distribu- 
tors as  launch  pads  for  films  (sometimes 
only  days  after  fest  screenings),  Rev  res- 
olutely seeks  to  maintain  its  autonomy 
from  this  sector  and  as  a  result  rarely 
screens  works  that  are  immediately  recog- 
nizable to  audiences — that  is,  films  with 
secured  distribution.  For  other  events,  I 
feel  that  while  the  distribution  orienta- 
tion may  provide  strong  box  office,  it 
dilutes  the  event  philosophy  and  contin- 
ues to  feed  the  status  quo.  For  the  audi- 
ence, where  is  the  discovery?  The  work  is 
already  discovered  by  the  wider  market- 
place populated  by  business  people  and 
filtered  through  the  "market  vibe." 

I  don't  mind  saying  that  I  find  the 
world  of  distribution  (in  Australia  at 
least)  enormously  frustrating.  With  a 
couple  of  notable  exceptions  and  much 
like  TV,  it's  a  backward-looking  sector 
that  tends  to  base  its  selections  on  past 
successes  rather  than  the  integrity  of 
good  new  work.  It  waits  for  market  affir- 
mation rather  than  trust  inherent  quality. 
Rev  attempts  to  deliberately  spin  this 
relationship  around  so  as  to  work  both 
within  and  without  the  established  distri- 
bution and  exhibition  framework.  It 
quite  simply  doesn't  need  (or  want)  the 
business  of  the  business.  It  wants  some- 
thing more,  and  so  do  audiences.  Our 
aim  is  to  give  it  to  them.  And  to  eat  lots 
of  popcorn  along  the  way.    ~k 


26  The  Independent  I  July/August  2005 


By  Rebecca  Carroll 


BAI  LING 


I  am  somewhat  embarrassed  to  say 
that  I  did  not  know  exactly  why  I 
was  to  meet  the  actress  Bai  Ling  at 
Playboy  Enterprise  headquarters  to  con- 
duct our  interview  for  this  issue. 
Although  somewhat  less  embarrassed  to 
say  that  neither  did  I  know  she  was  in  the 
final  Star  Wars  installment,  which  opened 
in  May  amid  shameless  commercial  pro- 
motion. I  knew  only  that  Bai  Ling  was  in 
a  small,  quiet  film  called  The  Beautiful 
Country,  which  had  just  had  its  world 
premiere  at  theTribeca  Film  Festival,  and 
that  this  was,  in  part,  the  reason  I  wanted 
to  interview  her  for  The  Independent. 

I  very  quickly  learned  the  reason  we 
were  at  Playboy — Bai  Ling  had  recently 
shot  the  cover  for  the  magazine's  June 
issue,  and  was,  it  appeared,  happily  oblig- 
ing the  part  of  Playboy  covergirl  with  a 
shorter  than  short  miniskirt  and  a  loose- 
fitting  jacket  that  scarcely  covered  her 
slight,  bare  chest  underneath.  She 
donned  shiny,  knee-length  white  boots, 
glittery  eye  shadow,  and  a  neon  lavender 
wig.  Her  diminutive  face  broadened  with 
a  wide  smile  as  we  shook  hands,  and  she 
could  not  have  been  more  gracious  from 
beginning  to  end  of  our  interview. 

Since  her  appearance  in  the  controver- 
sial 1997  film  Red  Corner,  starring 
Richard  Gere,  Bai  Ling  has  landed  roles 
in  a  diverse  collection  of  mainstream  and 
independent  fare — from  Bertha  Bay-Sa 
Pan's  Face  (2002)  to  Spike  Lee's  She  Hate 
Me  (2004)  to  Kerry  Conran's  flashy  digi- 
tal, green-screen  send-up,  Sky  Captain 
and  the  World  of  Tomorrow  (2004). 

In  The  Beautiful  Country,  directed  by 
Norwegian  filmmaker  Hans  Petter 
Moland,  Ling  plays  a  character  named 


Bai  Ling  in  Hollywood,  2004  (Jeff  Vespa/Wirelmage  com) 


Ling — Terrence  Malick,  a  producer  on 
the  film,  created  the  part  for  her — a  fel- 
low refugee  in  the  Malaysian  jail  where 
the  film's  protagonist,  Binh  (played  with 
soft  and  endearing  angst  by  Damien 
Nguyen),  ends  up  on  his  way  to  America, 
where  he  hopes  to  find  his  father. 


Rebecca  Carroll:  The  Beautiful 
Country  is  so  gorgeously  shot.  It's  a 
very  quiet  and  gentle  film,  although  I 
was  struck  by  the  boldness  of  your 
character,  Ling.  She  has  some  sharp 
edges,  too.  How  did  you  feel  about  her? 

Bai  Ling:  Actually  that  character,  and 


July/August  2005  I  The  Independent    27 


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Bai  Ling  as  Ling  in  The  Beautiful  Country  (Roland  Neveu/Sony  Pictures  Classics) 


basically  the  entire  film  was  a  gift  to  me. 
When  I  first  came  to  the  states,  Terrence 
Malick  cast  me  for  a  play  that  was  adapt- 
ed from  a  Japanese  movie,  which  never 
ended  up  happening.  I  remember  first 
time  I  auditioned,  I  just  learned  English 
then — and  Terrence  Malick  took  me  to 
another  room  and  said:  "Bai  Ling,  what- 
ever you  do,  you're  just  so  truthful,  we 
have  to  believe  you."  And  then  he  said, 
"Do  not  ever  watch  TV."  I  remember 
that's  what  he  told  me.  I  say  OK.  So  we 
became  friends,  and  later  he  said,  "I'm 
writing  something.  I  may  have  some- 
thing for  you."  It  was  The  Beautiful 
Country — he  wrote  a  role  for  me,  a  char- 
acter called  Ling.  So  I  feel  like  it's  all  a 
gift.  Sometimes  I  feel  like  he's  the  passen- 
ger sent  from  God  or  nature. 

RC:  How  was  it  that  you  were  in  the 
states? 

BL:  I  was  invited  by  NYU  Film  School 
because  I  had  already  done  some  feature 
films  in  China — like  leading  roles.  I  was 
kind  of  getting  bored  because  I  could  get 
all  the  leading  roles  I  wanted  there,  but  I 
wanted  to  see  the  world.  And  I  always 
wanted  to  learn  English.  Actually,  when  I 
came  to  this  country  I  was  not  necessari- 


ly sure  I  was  going  to  be  an  actress 
because  it's  so  difficult,  and  I  didn't  even 
know  English.  I  basically  just  jumped  in. 

RC:  Did  you  know  who  Terrence 
Malick  was? 

BL:  No.  I  had  no  clue.  I  had  seen  Days 
of  Heaven  and  Badlands,  but  I  had  no 
idea  how  important  he  was.  When  we 
met,  he  was  like,  "Stay  away  from 
Hollywood!"  He  is  a  man  who  believes  in 
art  and  is  a  very  gentle,  simple  human 
being. 

RC:  Tell  me  about  your  experience 
working  in  both  mainstream  and  inde- 
pendent films  in  America — do  you 
have  a  preference? 

BL:  I  appreciate  both,  because  a 
Hollywood  film  for  me  is  like  a  fantasy 
world — as  an  actress  or  a  filmmaker,  you 
have  to  experience  that  kind  of  fantasy 
and  the  long  history  of  that  dream  world. 
Sometimes  [when  I'm  on  a  studio  film]  I 
feel  like  a  princess.  What  I  like  about 
independent  films  is  that  they  basically 
keep  you  down  to  earth,  because  you 
know  that  a  lot  of  people  have  devoted 
their  life  to  this  one  film,  not  for  money 
but  for  the  art  itself. 


28    The  Independent  I  July/August  2005 


RC:  So  you  don't  think  you  have  to 
do  one  or  the  other.  Will  you  always  do 
both  do  you  think? 

BL:  I  think  not  only  both,  but  films  in 
between  independent  and  blockbuster. 
I've  been  lucky  enough  to  do  dramas  and 
fiction  and  comedy — all  kinds  of  things.  I 
just  finished  a  Hong  Kong  movie,  my  first 
one,  called  Dumplings.  We  worked  so 
hard,  I  don't  sleep  for  three  days — we 
shoot  in  hot,  hot,  and  hard  conditions. 
But  you  know  something  I  learned  [is 
that]  when  you  give  freely  you  receive  so 
much,  so  many  gifts.  Like  that  movie,  just 
alone,  won  me  four  most  important  Asian 
acting  awards.  It's  already  out  in  Asia,  and 
will  be  released  by  Lion's  Gate  here. 

RC:  You  mentioned  the  history  of 
the  genre  and  the  fantasy  world  it  cre- 
ates. That  history,  and  our  relation- 
ship with  movies  and  movie  stars  in 
America  are  very  specific  to  this  coun- 
try. What  does  it  feel  like  to  step  into 
this  world  and  become  a  young,  hot 
star  sort  of  overnight? 

BL:  I  feel  fortunate  here.  I  think 
everyone  in  the  world  have  their  own 
mission,  and  own  duty,  and  own  gift 
that's  special  about  them.  So  I'm  lucky 
to  find  my  gift  and  give  the  most  of 
who  I  am  through  my  film — for  people 
to  feel,  to  learn,  and  to  love  through  all 
my  characters.  I  often  find  myself  in  a 
controversial  place — like  being  on  the 
cover  of  Playboy  [June  issue].  It's 
beyond  my  wildest  dreams.  I'm  from  a 
Communist  country.  A  Chinese  girl 
comes  to  America  and  poses  in  Playboy*. 
At  first  I  say  no,  because  in  China 
everything  related  to  sex  is  dirty.  First 
time  someone  say  to  me,  "Oh,  youre 
sexy,"  I  was  so  offended.  Now  I  take  it 
as  a  compliment.  It's  beautiful  to  be 
sexy — it's  good. 

RC:  Did  you  feel  that  way  in  Spike 
Lee's  She  Hate  Me,  in  which  you  play 
a  lesbian  sex  bomb.  What  was  that 
experience  like? 

BL:  Spike  Lee  is  extremely  sensitive, 
like  he  doesn't  tell  us  anything,  but  we 
know  he's  watching.  One  time  I  had  this 
idea  I  want  to  talk  to  him  about.  And  I 
was  afraid  of  talking  to  him,  but  I  said, 


"Spike,  I  have  some  idea,  can  I  share 
with  you?"  He  said,  "Shoot."   So  I  told 
him  the  idea  and  he  said,  "Do  it."  I  feel 
like  he  is  the  kind  of  filmmaker  who  is 
open  to  good  artistic  ideas. 

RC:  Your  character  in  Beautiful 
Country  is  also  highly  sexed. 

BL:  After  Playboy,  I'm  so  much  more 
comfortable.  When  we  were  first  shoot- 
ing the  photo  editor  said,  "We  like  your 
face,  you're  sexy,  beautiful,  but  we  don't 
know  about  your  body,  can  we  take  a 
look?"  I  give  a  quick  flash,  and  he  said, 
"Oh  you're  beautiful."  After  two  days, 
I'm  running  around  naked. 

RC:  You  live  both  in  the  States  and 
China? 

BL:  I'm  always  traveling.  I  live  in 
hotel  rooms.  This  month  I'm  talking 
about  Star  Wars,  I'm  talking  about 
Beautiful  Country,  and  I'm  talking  about 
Playboy.  And  sometimes  I  say,  "Where 
am  I?" 

RC:  How  does  it  feel  different  to 
promote  a  film  like  Star  Wars  and  a 
film  like  Beautiful  Country*. 

BL:  Beautiful  Country  is  so  serious  but 
beautiful — people  like  it  when  they  see 
it,  but  it  needs  somebody  to  bring  some 
attention  to  it,  and  I  think  I'm  serving 
that  purpose.  I'm  glad,  because  it's  art 
and  I  want  people  to  see  art.  Sometimes 
in  show  business  [and  more  mainstream 
fare],  whether  I  like  it  or  not,  I'm  sort  of 
the  one  to  play  the  sexy  role  [during 
promotional  junkets] — that's  part  of  the 
job  for  me. 

RC:  So  you  approach  acting  as  a 
job? 

BL:  No,  I'm  not  acting.  In  all  my 
films,  I'm  living  in  that  moment,  there's 
no  acting  involved.  For  me,  if  I'm  eat- 
ing, I'm  eating — it's  that  simple.  People 
don't  know  how  simple  it  is.  If  I  say  I 
love  you,  I  say  I  love  you,  there's  noth- 
ing else  involved.  But  you  have  to  be 
truthful  because  the  camera  is  like  a 
mirror — it  doesn't  judge  you,  but  what- 
ever you  give  to  it  is  captured. 

RC:  But  what  if  you  don't  love  the 


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July/August  2005  I  The  Independent  29 


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Damien  Nguyen  as  Binh  and  Bai  Ling  in  The  Beautiful  Country 
(Roland  Neveu/Sony  Pictures  Classics) 


person  whom  you  are  telling  you 
love — how  do  you  suddenly  love  that 
person  for  a  scene?  Or  you're  eating 
and  you're  not  hungry? 

BL:  I  just  feel  I'm  hungry  and  I  need 
to  eat  whatever  it  is. 

RC:  That's  acting  though. 

BL:  That's  not  acting.  That's  how  you 
call  it,  but  for  me  if  I'm  drinking  the 
coffee,  I'm  literally  drinking  the  coffee. 
I'm  not  trying  anything — audiences  can 
see  when  you're  trying. 

RC:  So  is  that  instinct? 

BL:  You  can't  analyze  it.  Real  life  is 
real.  I  think  actors  take  care  of  the  emo- 
tional journey  of  a  character,  and  emo- 
tions are  like  a  wild  river — no  bound- 
aries, and  suddenly,  you're  sad,  you're 
happy,  there's  a  storm,  the  waters  go  up 
and  down.  It's  a  joy  to  feel  that  surprise 
of  vulnerability.  When  a  director  says, 
"Are  you  ready?"  I  say,  "I'm  ready."  I'm 
ready  to  be  on  set  but  I  don't  tell  him  I 
don't  know  what  I'm  going  to  do  when  I 
get  there.  I  just  go  for  it.  I  don't  think 
about  it. 

RC:  Your  character  in  Beautiful 
Country  is  very  willful,  she  chases  a 
dream — how  does  her  experience 
relate  to  your  own? 

BL:  It  makes  me  realize  what  dreams 


are  supposed  to  be  and  what  dreams  are 
real  and  where  you  find  them.  Maybe 
your  dream  is  right  next  door  to  you  or 
in  your  house  with  you  and  you  don't 
have  to  go  anywhere  to  find  it.  But 
people  don't  know,  and  so  they  take 
extra  effort  to  find  their  dream. 

RC:  What  is  your  dream? 

BL:  My  dream  is  to  appreciate  every 
day — to  smile  and  enjoy  every  day.  For 
me  life  only  exists  in  this  moment. 
When  I  finish  a  film,  that  part  of  me  is 
gone.  And  the  future,  I  don't  know,  it 
doesn't  belong  to  me.  I  don't  know 
what's  going  to  happen.  I  don't  even 
have  hope.  I  don't  have  plan. 

RC:  You  don't  have  hope? 

BL:  I  mean  I  don't  hope  for  anything. 
I  want  the  surprise  and  the  gift  to 
unfold,  and  that  excites  me.  We  all  just 
have  to  firmly  stand  on  our  own  jour- 
ney, trust  it,  and  go  for  it.  And  in  the 
meantime,  don't  forget  to  enjoy  the 
landscape.  If  there's  a  motel,  I  come  in. 
If  people  dance,  I  dance.  If  there's  beer,  I 
drink  beer.  If  I  want  to  pee  and  there's 
no  bathroom,  I  pee  on  the  pavement.  It 
is  the  journey  of  life,  and  it  all  exists  in 
the  moment.  I  love  the  work  I  do.  It 
connects  me  to  the  world — and  lets  me 
feel  I  give  something  real.   ~fc 


30    The  Independent  I  July/August  2005 


ON  THE  SCENE 


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The  African  Film  Festival  at  Eyebeam 


By  Douglas  Singleton 

The  New  York  African  Film  Festival 
(NYAFF)  in  collaboration  with  the 
Eyebeam  Panorama  screening 
series  presented  "The  Hair  of  the  Matter" 
in  May.  The  night  consisted  of  a  screening 
of  filmmaker  Andrew  Dosunmu's  films,  a 
video  installation  by  Ingrid  Mwangi,  and 
a  live  installation  performance  of  on-site 
African  hair  braiding  with  musical 
accompaniment  by  DJ  Rich  Medina.  The 
films,  installations  and  music  combined 
to  create  an  environment  exploring  styles, 
cultures,  and  issues  pertinent  to  the 
African  Diaspora. 

In  its  twelfth  year,  the  NYAFF  show- 
cases films  from  many  African  countries 
whose  national  cinemas  are  largely 
unknown  to  US  audiences.  This  year's  fes- 
tival included  a  program  drawing  from 
the  wealth  of  filmmaking  looking  to  the 
rich  tradition  of  African  storytelling.  It 
also  featured  Senegalese  "Father  of 
African  cinema"  Ousmane  Sembene's  crit- 
ically acclaimed  Moolaade,  as  well  as  a 
short  documentary,  Making  of  Moolaade, 
which  the  acclaimed  director  introduced. 

Eyebeam's  Panorama  series  provides  a 
venue  for  international  work  innovative 
in  form  and  content.  "Hair  of  the  Matter" 


(HOTM)  was  programmed  by  Mahen 
Bonetti  and  is  the  first  of  the  2005  series 
focused  on  Africa  (additional  programs  by 
Isolde  Brielmaier  and  Tumelo  Mosaka  run 
later  this  year).  HOTM  resulted  from 
NYAFF  programmers'  belief  that  the 
work  of  African  digital  artists  had  been 
shown  at  various  venues  but  never  togeth- 
er in  such  a  way  as  to  make  apparent  the- 
matic connections  between  them  and 
rarely  venturing  into  the  realm  of  experi- 
mental video  and  video  art.  The  program- 
mers assert,  "...the  discourse  around  dig- 
ital technology  in  the  mainstream  film 
world  seldom  gets  beyond  common-place 
ideas  about  its  portability  and  economy 
compared  to  celluloid  film."  In  contrast, 
HOTM  was  curated  to  "raise  such  issues 
as  the  effect  of  digital  communication 
technologies  in  creating  and  shaping  an 
African  Diaspora  consciousness,  showing 
how  race  and  color  are  represented 
through  digital  technologies,  the  interplay 
between  traditional  and  digital  materials 
in  African  art,  and  exploring  how  ritual, 
rhythm,  and  oral  traditions  are  trans- 
formed in  the  digital  realm." 

An  artist  of  Kenyan  origin  residing  in 
Germany,  Ingrid  Mwangi  explores  her 
biracial,    multicultural    heritage    through 


her  videos,  installations,  performances, 
and  photo  works.  Her  video  installation 
at  HOTM  consisted  of  two  video  screens 
running  footage  of  a  Negro  woman  and  a 
Caucasian  man,  their  backs  turned  to  us. 
The  videos  display  a  methodical  shearing 
of  hair  from  both  individual's  heads, 
rhythmically  in  tandem.  Once  the 
woman's  curly  hair  and  the  man's  straight 
Caucasian  hair  have  been  shorn,  the  bald 
heads  bear  sculptural  resemblance  to  one 
another.  This  recognition  of  similitude 
and  cosmic  brotherhood  comes  crashing 
down  with  a  violent  shake  of  the  woman's 
head  that  restores  full  heads  of  hair  to 
both  individuals — only  for  the  shearing 
process  to  repeat  again,  the  video  looping. 
Mwangi's  video  works  document  rooted 
patterns  of  behavior  in  hopes  of  exposing 
social,  political,  and  cultural  stigma. 

Andrew  Dosunmu's  warm,  expression- 
ist short  films  were  the  night's  highlight, 
suggesting  an  emerging  talent.  Nigerian 
born,  Dosunmu  began  his  career  as  a 
design  assistant  at  Yves  Saint  Laurent.  He 
worked  as  a  creative  director  and  photog- 
rapher before  directing  commercials  and 
music  videos,  eventually  progressing  to 
narrative  filmmaking.  The  first  of  his 
films  shown  was   Kirk  Krak!  (2001),   a 


July/August  2005  I  The  Independent    31 


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The  AIVF  Guide  to 

Film  &  Video 
Distributors 

edited  by  Rania  Richardson 

What  You'll  Find: 

1  Up-to-date  profiles  of  close  to  200 
distributors,  supplemented  by  "how 
to"  articles,  selected  reprints  from 
The  Independent,  and  in-depth  inter- 
views with  over  20  distributors. 

'  Published  to  order,  ensuring  the  most 
current  information  that's  available. 


Order  online  at 
www.aivf.org,  or  call 
(212)807-1400x303. 


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melange  of  16mm  black  and  white 
footage  shot  during  a  voodoo  ritual  in 
New  Orleans.  Mysterious,  stylish  individ- 
uals float  across  the  screen  with  an  air  of 
intense  spirituality.  In  Gitanes  (2000), 
shot  in  Dakar  on  Super  8,  Dosunmu 
switches  to  color  imagery  to  display 
Africans  traversing  an  empty  beach: 
mothers  and  children,  a  man  strumming 
a  guitar  while  youngsters  dance.  The  title 
is  an  oblique  reference  to  the  French 
Gitane  cigarettes.  Both  films  employ 
street  youths  Dosunmu  encountered 
through  his  travels  and  whose  lives  he  felt 
should  be  chronicled,  if  only  in  a  small 
way.  In  his  fashion  work,  Dosunmu 
has  photographed  famous  faces  like 
Erykah  Badu,  Harry  Belafonte,  and 
Jimmy  Cliff,  and  this  skill  at  framing  dis- 
tinct, striking  personalities  is  evident  in 
his  film  work.  The  abstract,  expressionis- 
tic  imagery  imparts  an  elegance,  beauty, 
and  spirituality  to  everyday  life  across  the 
African  Diaspora. 

Included  was  the  European  cut  of  the 
haunting  music  video  Dosunmu  filmed 
for  Youssou  N'dour's  international  hit 
"Brima,"  Youssou  and  Wyclef:  Brima 
(2002),  about  a  beloved  Senegalese  griot 
king.  Filmed  throughout  the  streets  of 
Johannesburg  and  featuring  Wyclef  Jean 
and  a  spirited  MC  Marie  Antoinette  (aka 
"Free")  rhapsodizing  about  traditional 
griot  culture,  the  camera  swoops  through 
the  South  African  countryside,  slums, 
and  nightclubs.  Many  of  Dosunmu's 
visual  themes  are  evident:  striking  cine- 
matography with  beautiful  outdoor 
scenery,  interiors  shot  with  vibrant  col- 
ors, folks  both  celebrating  and  brooding 
and  going  about  their  everyday  lives  of 
joy  and  pain. 

An  excerpt  from  the  acclaimed  South 
African  television  series  "Yizo  Yizo 
(Episode  7)"  (2004)  followed.  The 
Dosunmu-directed  episode  is  shot  in  a 
manner  reminiscent  of  Jim  Jarmusch's 
Stranger  Than  Paradise  with  episodic 
jump  cuts  between  disparate  story  lines. 
Dosunmu  describes  "Yizo  Yizo"  as  a 
South  African  City  of  God — raw  and 
controversial  in  its  depiction  of  youths 
from  small  rural  towns  moving  to 
Johannesburg  in  search  of  education  and 
work — a  "city  of  gold" — and  instead 
finding  a  complex,  dangerous  metropolis. 


Unemployment,  crime,  first  sexual 
experiences,  and  the  complex  economics 
of  the  drug  trade  are  its  subject  matter. 
"Yizo  Yizo  (Episode  7)"  dramatizes  the 
aspirations  of  two  girlfriends  intent  on 
keeping  to  their  studies  while  falling  prey 
to  the  pitfalls  of  boyfriends  and  young 
love.  One  of  the  girls  trains  at  a  boxing 
gym  in  hopes  of  improving  her  circum- 
stances, but  when  gangsters  descend 
upon  the  gym  demanding  kickbacks 
from  the  owners,  trouble  is  imminent. 
The  episode  concludes  with  the  girls  at  a 
weekend  hip-hop  party.  Dosunmu  loves 
shooting  scenes  of  spirited,  picturesque 
dancing,  often  with  sweaty  bodies  and 
low  light  in  tight  spaces.  Featuring  a 
number  of  South  African  dialects  as  well 
as  English,  and  considerably  popular 
across  the  African  continent,  its  young 
actors  celebrities,  "Yizo  Yizo"  received  an 
honorable  mention  at  the  Venice  Film 
Festival. 

The  final  screening  was  Hot  Irons 
(2000),  Dosunmu's  FESPACO  award- 
winning  documentary  about  the  fascinat- 
ing world  of  African-American  hair 
braiding  salons  and  the  heated  hair 
designing  competitions  these  spawn.  Set 
in  Detroit,  self-proclaimed  "hair  capital 
of  the  world,"  Hot  Irons  explores  an 
underground  culture  similar  to  tattooing 
or  ballroom  dancing  subcultures. 
Economic  decline  brought  on  by  the 
downsizing  of  the  auto  industry  left 
many  of  Detroit's  men  without  jobs  who 
subsequently  turned  to  hair  dressing  not 
only  as  a  source  of  income  but  of 
renewed  African-American  cultural 
pride.  It  is  an  arena  in  which  artistry 
rooted  in  African  hair  sculpturing  has 
developed  into  a  cultural  phenomenon, 
its  genesis  the  "hair  relaxing"  of  the  60s 
Motown  era. 

Enthusiasts  claim  the  African 
American  hair  dressing  business  as  a 
billion-dollar  industry,  with  epicenters 
not  only  in  big  cities  like  Detroit  and 
Chicago  but  also  in  towns  all  over  the 
south.  Hot  Irons  shows  a  culture  with  its 
own  magazines,  radio  tie-ins,  juried  com- 
petitions, and  an  economy  firmly  rooted 
in  black  traditions.  Much  of  the  hair 
work  is  astounding — sculptural,  colorful, 
absurd,  full  of  vibrancy  and  humor.  The 
individuals  who  often  spend  a  week's  pay 


32    The  Independent  I  July/August  2005 


to  have  their  hair  "done  up"  take  an 
intense  pride  in  the  originality  of  their 
hair  styles,  as  do  the  hair  artists  who 
conceive  and  execute  the  designs.  Hot 
Irons  culminates  in  downtown  Detroit's 
"Hair  Wars"  competition,  an  annual 
event  resembling  not  only  the  notorious 
"Player's  Ball"  competitions  but  haute 
couture  fashion  runway  shows.  The  con- 
ceptual wonders  closing  the  competition 
include  a  three-feet  tall  "spaceship"  hairdo 
and  an  astounding  "butterfly"  design  of 
such  heft  it  is  a  wonder  the  model  can 
hold  up  her  head.  These  and  other  designs 
are  discussed  with  the  aplomb  of  the  most 
focused  conceptual  artists  and  to  a  large 
degree  deserve  such  passionate  considera- 
tion. Dosunmu  films  this  world  with 
elegiac  compassion,  shifting  between 
black  and  white  cinematography  and  uti- 
lizing a  musical  soundtrack  composed  of 
Johnny  Cash,  Motown,  Nina  Simone, 
and  Jessye  Norman  hauntingly  singing 
Strauss.  A  love  of  African  American  cul- 
ture bleeds  through  the  screen. 
Dosunmu's  films  are  love  paeans  to 
cultures  across  the  African  Diaspora. 

"Hair  of  the  Matter"  concluded  with  a 
live  hair  braiding  installation  perform- 
ance by  Balguissa  Zoungrana  and 
Mariam  Simpore.  Hailing  from  Burkina 
Faso,  the  two  work  out  of  a  collective- 
owned  shop  in  Harlem  and  have  been 
braiding  hair  for  1 1  years.  Their  demon- 
stration of  African  braiding  traditions  (all 
the  rage  in  Japan)  was  accompanied  by 
music  provided  by  Rich  Medina,  a  DJ 
and  producer  who  uses  decks  to  create 
musical  collages  of  global  Afrobeat 
sounds.  Medina  injects  a  social  agenda 
about  the  need  for  universal  change  into 
the  musical  environments  he  crafts. 

The  "Hair  of  the  Matter"  program  put 
on  display  a  montage  of  styles  and  cul- 
tures and  attempted  to  connect  these 
social  patterns  as  part  of  larger,  cohesive 
world  trends.  While  aiming  to  impart  a 
sense  of  dignity  to  segments  of  the  plan- 
et not  always  recognized  as  noble  and 
beautiful,  the  work  also  suggests  a  desire 
to  illuminate  and  confront  the  seemingly 
never-ending  cycles  of  poverty,  crime, 
and  "otherness"  these  populations  fall 
prey  to,  issues  so  pertinent  to  Africans 
everywhere.  ~k 


study  with  outstanding 

industry  professionals  in  a 

rustic  midwest  setting 


w 


CTING  # 


WORKSHOPS 


joavi  darling 

creator  of  "Directing  the  Actor"  for  Sundance  Film  Institute 

creative  advisor  to  Sundance  Film  Labs  for  10  years 

Emmy  &  Directors  Guild  Award  winner 

janice  lynde 

actress,  director,  author  of  "10  Minutes  to  the  Audition" 

originated  "Directing  the  Actor"  for  American  Film  Institute 

Obie,  Dramalogue  and  Cannes  Palm  d'Or  Award  winner 

bill  Qvcmoo. 

screenwriter,  playwright,  songwriter 

Christopher  Award  for  Outstanding  Writing 

faculty  at  University  of  North  Carolina 

bovmia  raphaal 

director  Professional  Actor  Training  Program  at  UNC 

coached  11  years  at  American  Repertory  Theater  & 

Institute  for  Advanced  Theater  Training  at  Harvard 

August  8  -12, 2005 

register  by  phone  or  on-line 

608.987.4499  or  987.3292 

www.ShakeRagAlley.com 


TW     shake  rag  alley  center  for  the  arts 
?vj         in  historic  mineral  point,  Wisconsin 


sy« 


A 


Juiy/August  2005  I  The  Independent    33 


FESTIVAL  CIRCUIT 


Room  for  INPUT 

The  annual  conference  is  more  dialogue  than  market 


By  Niall  McKay 

The  International  Public  Television 
(INPUT)  conference  was  hosted 
this  year  by  Independent 
Television  Service  (ITVS).  Held  in  a  dif- 
ferent country  (and  hosted  by  a  different 
public  media  outlet)  each  year,  INPUT 
serves  public  television  executives  and 
independent  producers  from  around  the 
planet  through  screenings  and  discus- 
sions about  some  of  the  most  innovative 
and  controversial  programming  being 
done  today. 

Flashmob:  The  Opera,  from  the  BBC, 
featured  a  full-scale  opera  during  com- 
muter hours  in  Paddington,  Britain's 
busiest  railway  station,  and  was  a  particu- 
lar favorite  among  attendees.  As  was 
Danes  for  Bush,  where  two  Danish  come- 
dians hit  the  campaign  trail  in  support  of 
the  reelection  of  President  Bush.  On  the 
controversial  side,  George  Gittoe's 
Soundtrack  to  War  about  what  kind  of 
music  US  troops  are  listening  to  in  Iraq 
provoked  fervent  conversation. 

"Public  Television  often  provides  the 
kind  of  work  that  incites  and  excites  con- 
versation," said  Orlando  Bagwell,  Ford 
Foundation's  program  officer  for  media, 
arts  and  culture.  "The  next  stage  is  to 
engage  that  conversation  and  bring  people 
into  the  room  that  have  opposing  points 
of  view." 

Following  many  shows,  US  delegates 
said  that  while  they  liked  some  of  the 
international  programming  they  would 
never  be  allowed  to  air  it  on  US  public 
TV — subject  matter  such  as  sex,  religion, 
and  politics  often  put  certain  works  out  of 
reach.  Lust  a  film  about  a  Dutch  sex 
worker  who  gets  paid  by  social  services  to 
give  mentally  and  physically  handicapped 


Jakob  Boeskov  and  the  mascot  (inside  is  an 
illegal  alien  from  Mexico)  (Frederik  Harsloff, 
The  Danish  Broadcasting  Corporation) 


clients  a  massage  with  a  masturbatory,  so- 
called  happy  ending  would  almost  certain- 
ly be  rejected  by  US  public  television  sta- 
tions. And  it's  also  unlikely  that  members 
of  Congress  would  take  part  in  a  game 
show  and  debating  contest  on  the  most 
emotive  issues  of  day — whereas  "The 
Pyramid,"  a  show  that  features  politicians 
debating  each  other  in  real  time,  with  the 
audiences  deciding  the  winner  by  calling 
in  their  votes,  is  very  popular  in  Croatia. 

It  could  be  argued  that  US  public  tele- 
vision has  developed  a  very  narrow  mis- 
sion insofar  as  what  it  can  present  to  its 
viewers  [see  Matt  Dunne's  Policy  piece, 
page  54].  "Public  Television  in  the  US 
seems  to  be  somewhat  limited  to  docu- 
mentary and  performance  art,"  said  Clare 
Duignan,  director  of  programs  for 
Ireland's  public  service  broadcaster  RTE. 


"We  are  of  the  view  that  if  we  don't 
attract  a  significant  portion  of  our  audi- 
ence from  the  younger  viewers,  then  we 
will  become  irrelevant  very  quickly." 

Other  shows  worth  mentioning  are 
"bro'Town,"  a  New  Zealand  animated 
series  that  pushed  the  limits  of  the  polit- 
ically incorrect  to  comedic  effect; 
"Geography  of  Desire,"  a  Chilean 
drama  about  four  30-something  women 
that  makes  "Desperate  Housewives" 
look  tame  and  vacuous  (which,  of 
course,  it  is);  Hardwood,  Hubert  Davis's 
movie  about  his  father  and  former 
Harlem  Globetrotter  Mel  Davis;  and  a 
German  feature  called  Pigs  Will  Fly,  a 
film  set  in  Berlin  and  San  Francisco 
about  domestic  abuse. 

All  very  well  and  good,  independent 
producers  may  argue,  but  why,  apart  from 
wiling  away  a  few  days  watching  TV, 
should  they  be  interested  in  INPUT?  "It's 
not  a  market  nor  a  festival  but  it's 
something  in  between,"  said  Claire 
Aguilar,  director  of  programming  for 
ITVS.  "The  business  aspect  has  been  kept 
out  intentionally,  but  on  the  other  hand 
we  tried  to  create  opportunities  so  that 
independent  producers  can  talk  openly  to 
broadcasters." 

It's  a  dialogue  that  will  help  independ- 
ent producers  become  more  aware  of 
the  kind  of  programming  that  broadcast- 
ers are  looking  for.  "While  it's  not  really 
considered  the  place  for  producers  to  pitch 
new  ideas,  it  happens  all  the  time  because 
they  are  sitting  elbow  to  elbow  with 
broadcasters,"  Aguilar  said. 

ITVS  recently  announced  its  new  inter- 
national fund  for  which  the  organization 
is  looking  for  pitches  from  international 


34    The  Independent  I  July/August  2005 


producers  on  non-US  topics.  "In  the  race 
to  the  bottom,  many  US  viewers  interest- 
ed in  international  issues  are  being  neg- 
lected," Aguilar  said.  "On  the  one  hand, 
there  are  fewer  and  fewer  venues  for  inter- 
national material.  And  on  the  other  hand, 
we  get  a  tremendous  response  when  we 
screen  a  film  like  A  Wedding  In  Ramallah 
on  Independent  Lens."  Aguilar  said  that 
ITVS  is  looking  for  compelling  stories 
from  regions  such  as  Africa,  the  Middle 
East,  Asia,  and  particularly  from 
Indonesia. 

Independent  producers  not  only  get  the 
chance  to  carry  out  international  market 
research  and  watch  what  is  considered  to 
be  leading  edge  films  at  INPUT,  but  also 
to  meet  many  of  the  movers  and  shakers 
from  the  international  programming  com- 
munity in  an  informal  setting. 

Rudy  Buttignol,  creative  director  of 
Network  Programming  of  TV  Ontario, 
was  one  of  the  many  commissioning  edi- 
tors in  attendance,  along  with  Nick  Fraser, 
editor  of  BBC's  "Storyville"  [see  page  36]; 
Mette  Hoffmann  Meyer,  commissioning 
editor  of  TV2  Denmark;  Pat  van  Heerden, 
commissioning  editor  of  SABC  in  South 
Africa;  Lucas  Schmidt  commissioning  edi- 
tor for  ZDF  in  Germany;  Debbie  Lee, 
commissioning  editor  of  SBS  in  Australia; 
and  Alan  Collins,  director  of  the 
Australian  Broadcasting  Corporation. 

During  one  panel  discussion  on  inter- 
national co-production,  Buttingnol, 
Hoffmann  Mayer,  and  Fraser  said  that 
they  sometimes  call  each  other  and  recom- 
mend a  particular  film.  "It  is  not  'If  Nick 
Fraser  likes  it,  then  I  will  like  it,'" 
Buttignol  said.  "It's  more  'If  Nick  Fraser 
likes  it  then  I'll  look  at  it.'"  Later  during 
the  conference,  Fraser  told  an  audience 
that  documentary  director  Eugene  Jarecki 
{The  Trials  of  Henry  Kissinger,  2002)  was 
standing  in  his  living  room  when  he 
pitched  Fraser  the  idea  for  his  latest  film, 
Why  We  Fight,  about  the  US  Military 
Industrial  Complex.  So  how  does  an  inde- 
pendent producer/director  get  from  the 
local  cafe,  where  they're  procrastinating 
writing  the  next  proposal,  to  Nick  Fraser's 
living  room?  Easy.  All  they  need  do  is  pro- 
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Nick  Fraser's 
expanding  empire 


BY  LISA  SELIN  DAVIS 

Nick  Fraser's  career  has  been  a  constant  battle 
between  "what  I  will  and  won't  do  for  television," 
says  the  57-year-old  series  editor  of  the  BBC's 
international  documentary  showcase  "Storyville." 
A  kind  of  documentary  filmmaking  godfather,  Fraser  is  able  to 
fund  dozens  of  films  each  year,  but  he's  waged  a  war  on  media 
bias — whether  that's  what  he  sees  as  the  politically-correct  cul- 
ture of  the  BBC  or  the  far  right  wing  media — to  make  it  hap- 
pen. "My  views  are  out  on  a  limb  at  the  BBC  because  I'm  pre- 
pared to  tolerate  freedom  of  expression,"  he  says.  He'll  put  any 
great  documentary  on  the  air,  as  long  as  it's  not  dogma,  from 
either  the  left  or  the  right.  He  sums  it  up  this  way:  "I  find  that 
agitprop  art  I  don't  like." 

36  The  Independent  I  July/August  2005 


Once  a  print  journalist  for  publications  like  The  Sunday 
Times  of  London  and  The  New  York  Times  and  now  a  con- 
tributing editor  to  Harpers,  Fraser's  career  focus  has  become 
solely  to  navigate  the  ideals  he  maintains  for  the  print  journal- 
ism world — an  almost  naive  and  hopeful  vision  of  an  empirical 
and  unbiased  press — and  the  reality  of  the  small  screen.  His 
ultimate  goal  is  to  blend  the  two  worlds  as  much  as  he  can, 
unleashing  the  power  of  documentaries  on  as  wide  an  audience 
as  possible. 

Sitting  across  from  me  at  the  Hudson  Hotel  in  New  York 
recently,  Fraser  had  breezed  into  town  for  less  than  36  hours — 
just  long  enough  to  have  a  peek  at  a  documentary  playing  at  the 
Tribeca  Film  Festival,  and  to  pick  up  a  pair  of  dark  Levis  ("We 


can't  get  this  color  in  London")  and  Banana  Republic  T-shirts 
for  his  daughter — before  he  jetted  off  to  Toronto,  San 
Francisco,  Tokyo,  and  then  back  to  Britain.  And  that  was  just 
one  week.  His  job  takes  him  around  the  globe,  scouring  for 
great  films. 

He  seemed  perfectly  at  home  in  the  Philippe  Starck-designed 
hotel  with  its  tufted  leather  admiral  armchairs  and  chartreuse 
sheaths  of  plexiglass — comfortable  with  incongruity.  Wearing 
expensive-looking  tortoiseshell  eyeglasses,  he  has  a  ring  of  silver 
hair  framing  his  handsome  face,  and  the  costume  of  the  con- 
summate film  professional:  a  black  blazer  over  lightly  faded 
Levis,  with  shiny  black  dress  shoes.  He  speaks  with  the  accent 
of  a  British  upper  classman  and  has  clearly  never  been  a  strug- 
gling artist  himself.  In  fact,  he's  not  terribly  keen  on  talking 
about  his  personal  past — just  as  he's  not  one  to  talk  about  his 
personal  politics — or  how  he  built  the  "Storyville"  empire.  "You 
want  to  know  about  that?"  he  asks  doubtfully  when  I  probe  him 
for  more  personal  details,  although  eventually  he  relents. 

Born  in  London  to  a  French  mother  and  an  English  father, 
Fraser  was  educated  at  Eton  and  Oxford.  After  college,  he  came 
to  America  where  he  worked  a  series  of  what  he  calls  "menial 
jobs  in  publishing"  during  the  late  1960s.  Eventually  he  became 
a  freelance  journalist,  but  when  he  returned  to  England  in  the 
early  1970s,  print  jobs  were  scarce.  "I  got  into  documentaries 
completely  by  accident,"  he  says.  "I  got  into  television  by  acci- 
dent. And  whenever  I  was  trying  to  quit  working  in  television, 
there  were  never  any  jobs  in  newspapers." 

He  landed  a  position  producing  opinion  pieces  for  the 
BBC — half-hour  slots  in  which  a  single  person  sat  staring  at  the 
camera,  speaking  his  or  her  editorial  straight  into  the  lens. 
Crude,  yes,  even  by  standards  in  those  earlier  days  of  television, 
but  Fraser  says  they  were  a  hit, 
and  they  kept  him  tethered  to 
the  television  world.  "I  was 
never  really  sure  if  I  liked  televi- 
sion at  all,  but  it's  kind  of  like  a 
train  you  get  on  that  you  can 
never  get  off." 

The  author  of  four  books, 
including  a  biography  of  Eva 
Peron  and  a  book  on  the  rise  of 
neo-fascism  in  Europe,  Fraser 
still  writes,  and  he  straddles  his 
two  worlds  hoping  that  they'll 
edge  closer  and  closer  toward 
one  another.  "All  my  life  I've 
written  books,"  he  says.  "I  think 
of  myself  more  as  a  writer  or  as  a 
print  journalist,  but  in  one  of 
these  moments  when  I  was  des- 
perately trying  to  leave  televi- 
sion, I  got  hired  by  Channel  4  as 
a  commissioning  editor." 

"Storyville"  began  as  a  pro- 
gram  called   "Fine   Cut,"   with 


only  four  broadcast  slots  a  year.  With  10  times  as  many  slots 
now,  and  an  audience  of  more  than  250,000  for  each  broad- 
cast— an  astounding  number  for  a  documentary  show  that  airs 
on  a  relatively  recently  created  digital  channel — "Storyville"  has 
become  a  phenomenon  and  a  national  cultural  treasure  in 
Britain.  A  third  of  the  films  are  bought  after  they're  finished, 
one  third  receive  completion  funds,  and  the  other  third  get 
"Storyville"  seed  money  to  start  things  up. 

'"I  don't  have  enough  money'  is  my  perpetual  refrain,"  Fraser 
says.  Still,  he  has  enough  to  make  a  difference  in  the  lives  of 
many  filmmakers,  and  without  the  BBC  keeping  too  close  a 
watch  on  him.  "In  television,  if  you  don't  cost  too  much,  you 
have  freedom,"  he  says.  It's  because  of  this  freedom  that  Fraser 
has  transformed  "Storyville,"  and  he  believes  the  name  change 
(which  came  in  1997,  after  Mark  Thompson  became  comptrol- 
ler of  the  BBC,  and  shook  things  up  a  bit)  had  something  to  do 
with  it.  "["Fine  Cut"]  felt  arty  in  the  wrong  way,  and  really 
nobody  understood  it.  They  thought  it  had  to  do  with  butch- 
ers. They  thought  it  had  to  do  with  some  slice  of  beef  or  some- 
thing like  that." 

With  the  name  change  came  a  new  focus:  story,  not  issue. 
Fraser  wants  the  details  laid  out  methodically.  "What  I  liked 
about  [the  name]  "Storyville"  is  that  it  seems  a  name  that's 
entirely  neutral,"  he  says.  Neutrality — where  the  filmmaker's 
politics  are  put  aside  in  favor  of  his  or  her  desire  to  present  a 
narrative — is  what  Fraser  seeks  in  a  film.  He  wants  the  film- 
maker, in  a  way,  to  interfere  as  little  as  possible,  and  let  the  audi- 
ence draw  its  own  conclusions.  He  searches  for  documentaries 
that  "teach  you  how  to  look  at  things  as  much  as  what  to  say 
about  things."  "Storyville"  is  usually  impartial  to  politics,  show- 
ing films  that  range  from  Fashion  Victim  (2001),  an  exploration 


July/August  2005  I   The  Independent  37 


USA  Airforce  transport  aircraft  in  Why  We  Fight  (BBC) 

of  the  murder  of  Gianni  Versace,  to  Final  Solution  (2003), 
about  the  politics  of  hate  in  India,  to  the  AIDS  documentary  To 
Live  Is  Better  Than  to  Die  (2002),  by  Weijun  Chen. 

Frasier  decries  activist  filmmaking,  just  as  he  excoriates  right 
wing  corporate  American  media.  "I  always  get  the  feeling  that 
the  right  don't  bother  with  documentaries  because  they  own  the 
channels,"  he  says.  But  he  would  prefer  Al  Franken  no  more  so 
than  Rush  Limbaugh.  And  he  can  go  on  at  length  about  this 
activist  film  trend  he  so  vehemently  condemns.  His  near 
polemic  might  astonish  some  makers  who  believe  that  the  doc- 
umentary both  can  and  should  attempt  to  make  social  change; 
Fraser  couldn't  disagree  more. 

"I  have  a  block  about  what  are  called  'social  action  docu- 
mentaries, "'  he  says.  "On  the  whole  I  don't  share  the  politics, 
but  more  deeply  than  that,  I  don't  think  that  making  docu- 
mentaries to  inform  people  about  social  conditions  is  a  very 
good  idea.  It's  a  kind  of  fantasy  of  filmmakers  that  it  actually  has 
an  impact.  I  find  there's  a  certain  self-righteousness  about  the 
left-wing  identity  of  documentary  filmmakers.  I  feel  they  expect 
you  to  watch  these  things  even  if  you  don't  like  them:  It's  good 
for  you  to  know  about  the  Comandante,  or  it's  good  for  you  to 
know  about  grape  pickers  and  all  that." 

In  addition  to  eschewing  social  activist  documentaries  and 
Fox  TV,  Fraser  is  not  particularly  enamored  with  what  he  sees  as 
a  long  documentary  dry  spell  in  the  1980s.  "It  was  a  blank  spot, 
as  far  as  I  can  see,"  he  says.  There  were,  of  course,  plenty  of  doc- 
umentaries being  produced  in  the  1980s  and  early  1990s,  but 
the  trend  of  the  first-person  documentary — Sherman's  March 
(1986),  say,  or  Marlon  Riggs's  Tongues  Untied  (1990) — is  per- 
haps particularly  distasteful  to  Fraser,  who  says  he  thinks  of 


himself  as  the  cinematic  equivalent 
of  a  New  Yorker  editor.  He  wants 
desperately  to  believe  that  empiri- 
cal journalism  still  exists,  and  the 
personal  journey  film  or  the 
polemical  documentary-as-social- 
tool  or  advocacy  filmmaking,  are 
antithetical  to  his  ideas  and  ideals. 
As  is  "all  the  [Ken]  Burns  output, 
which  never  interested  me  too 
much,  though  I  can  see  its  quali- 
ties," he  says. 

"I'm  generalizing  rather,  but  I 
don't  think  [1980s  documentaries] 
matched  the  journalism  of  the 
New  Yorker.  I  don't  think  people 
were  thinking  about  films  in  that 
ambitious  way." 

Listening  to  him,  I  can't  help  but 
think  of  the  limitations  of  publica- 
tions he's  listed  as  beacons  of 
empiricism — Harper's  and  the  New 
Yorker  and  The  New  York  Times — despite  the  fact  that  I  sub- 
scribe to  all  three.  After  all,  the  New  Yorker  endorsed  John  Kerry 
for  president  last  year,  dedicating  space  to  several  polemics 
against  George  Bush.  The  editors  took  sides.  They  took  a 
stance,  I  told  him.  They  temporarily  forewent  their  objectivity. 
Fraser,  though,  waved  this  away,  explaining  that  there  are 
times  when  a  humanitarian  cause  outweighs  personal  politics. 
For  instance,  Fraser  helped  produce  a  video  series  called  "Steps 
to  the  Future,"  about  AIDS  in  Southern  Africa,  co-created  by  a 
number  of  NGOs  and  humanitarian  groups  to  raise  awareness 
about  the  subject.  How,  I  asked  him,  was  that  different  from  a 
social  activist  documentary?  "It  was  a  form  of  agitprop,"  he 
admitted.  "It  was  a  form  of  social  enlightenment,  and  I  didn't 
mind  that  at  all.  I  saw  it  as  a  terrifying  global  crisis,  and  I 
thought  that  was  an  emergency." 

For  all  of  the  other  non-emergency  issues,  the  key  to  catch- 
ing Fraser's  eye  is  to  have  a  great  story  more  than  an  important 
political  agenda.  For  instance,  he  finds  the  documentary  My 
Architect  (Nathaniel  Kahn,  2003)  to  be  exemplary  documentary 
filmmaking.  One  might  say  that  this  film,  about  a  boy's  search 
to  know  his  dead  father  through  his  architectural  legacy,  is  the 
descendant  of  those  1980s  personal  documentaries  he  finds  dis- 
tasteful, but  he  doesn't  see  it  that  way.  "It's  a  triumph,"  he  says. 
"It's  a  brilliant  piece  of  narrative,  it  tells  you  a  lot  that's  interest- 
ing, and  it's  intensely  personal  at  the  same  time." 

The  dawn  of  "Storyville"  coincided  with  an  explosion  of 
amazing  documentary  films  like  My  Architect  coming  out  of 
America,  along  with  a  technological  revolution  that  birthed  the 
newly  digital  Channel  4,  and,  of  course,  the  name  change  that 
encouraged  a  new  audience  to  find  documentaries  accessible, 


38  The  Independent  I  July/August  2005 


find  that 
agitprop  art 

I  don't  like." 


-Nick  Fraser 


McLibel follows  Helen  Steel  and  Dave  Morris  struggling  to  defend 
themselves  in  the  longest  trial  in  English  history  (Spanner  Films) 


entertaining,  and  relevant.  The  films  Fraser  chooses  for 
"Storyville"  are  often  progeny  of  1960s  verite  greats,  descen- 
dants of  Wisemans  and  Pennebakers  and  Kopples.  "When  I 
took  this  gamble  [of  working  for  "Storyville"] ,  it  was  actually 
that  moment  in  America  when  people  started  to  do  really  aston- 
ishing documentaries,"  he  says.  "I  think  you  can  mark  it  very 
easily;  I  think  it's  when  Hoop  Dreams  arrived." 

Hoop  Dreams  (1994),  which  allowed  us  to  observe  the  lives  of 
two  young,  black  men  who  dreamed  of  escaping  the  ghetto 
through  basketball,  did  not,  of  course,  have  a  legislative  or  social 
agenda  attached  to  it.  It  allowed  a  mass  audience  to  enter  a 
world  previously  sealed  off  to  them.  But  one  might  argue  that  it 
was  very  much  a  social  issue  documentary,  an  expose  of  pover- 
ty in  America,  and  the  power  and  lure  of  professional  sports. 

Fraser  sees  Hoop  Dreams  as  merely  a  success  that  paved  the 
way  for  other  such  films.  "You  have  this  real  explosion  of  talent 
coming  from  America,"  Fraser  says.  "It's  a  period  in  American 
life  where  documentaries  have  taken  over  from  a  lot  of  other 
forms  of  expression.  They're  really  the  only  original  form  of  cul- 
tural innovation  of  our  time,  and  the  impact  is  comparable  to 
what  happened  in  American  journalism  in  the  1960s,"  Fraser 
says,  referring  to  the  New  Journalism  of  Tom  Wolfe  and  Louis 
Lapham.  And  if  it  seems  he  romanticizes  the  movement,  it's 
because  he  was  a  bit  too  young  to  experience  it  himself,  and  he 
longs  for  such  a  revolution  to  recur. 

"The  triumph  of  the  American  documentary  coincides  with 
the  collapse  of  any  pretense  of  seriousness  of  the  American 
media,"  he  says.  "People  have  to  find  ways  of  expressing  them- 
selves, and  they  can't  in  most  of  the  American  media;  the  main- 
stream is  shut  to  them." 


Most  interesting,  he  says,  is  that  the  current  documentary 
revolution  has  come  from  a  country  where  the  arts  are  mini- 
mally supported  by  government.  Although,  he  does  concede 
that  it  may  not  be  a  coincidence.  "Americans  do  have  a  special 
affinity  for  the  process  of  making  documentaries,  some  deep, 
compulsive  empiricism  that  lends  itself  to  making  marvelous 
documentaries,  some  kind  of  literalism  that  makes  them  not 
want  to  let  go  of  a  subject  until  it's  perfectly  described." 

While  more  than  half  of  "Storyville"  documentaries  come 
from  America,  Fraser  aims  to  include  the  whole  world  in  its 
scope.  He's  in  the  midst  of  putting  together  a  1 0-part  series  on 
democracy,  which  will  be  shown  around  the  globe.  One  film 
documents  elections  in  China — that  is,  school  elections  for  the 
best  student,  since  there  are  no  political  elections.  Another 
traces  the  political  collapse  of  Papua  New  Guinea,  from  colo- 
nialism to  democracy  to  chaos  and  back  to  colonialism  in  20 
years.  The  films  will  be  shown  in  22  countries — all  over  Europe 
and  Asia,  in  America,  select  African  countries,  and,  hopefully, 
on  Arab  television  as  well. 

Fraser  maintains  his  appreciation  for  documentary  films  as 
well  as  their  makers.  He  has  strong  opinions,  yes,  but  in  the  end 
he  has  a  reverence  for  both  the  process  and  the  product. 
"Another  reason  I  like  documentaries  is  that  I  couldn't  make 
them.  I  do  not  have  the  patience.  I  get  bored  after  two 
days... one  day,"  he  says.  "[Filmmakers]  are  able  to  sort  of  wall 
off  the  world  while  they  recreate  they're  own  world,  and  I  just 
couldn't  do  that.  I  don't  have  the  talent." 

His  talent,  then,  lies  in  spotting  films  that  can  draw  large 
audiences  and  open  minds... but  not  necessarily  change  them. 
"I  wouldn't  presume  to  effect  change,"  he  says.  "If  you  supply 
people  with  the  means  to  understand  their  world,  that's  a  task 
in  itself."    -k 


July/August  2005  I  The  Independent  39 


Beyond  Bollywood 

The  new,  new  Indian  cinema 


BY  DAVID  ALM 

And  there  are  so  many  stories  to  tell,  too  many,  such  an  excess  of 
intertwined  lives  events  miracles  places  rumors,  so  dense  a  commin- 
gling of  the  improbable  and  mundane! 

—  Salman  Rushdie,  Midnights  Children 

Bollywood  films  are  known  the  world  over  for  their  eye- 
candy  dance  numbers,  bubblegum  pop  songs,  and  epic  run 
times.  They're  like  McDonald's:  Follow  the  recipe,  please  mil- 
lions. They  attract  the  rich,  the  poor,  the  young,  the  old, 
Muslims,  Hindus — you  name  it.  Usually  in  Hindi — the  most 
common  language  in  India,  spoken  by  about  250  million  peo- 
ple— they  offer  pure  escapist  fantasy  for  the  masses:  a  sensory 
massage  to  rival  Times  Square,  chock-full  of  beautiful  people 
who  never  miss  a  step. 

But  taking  Bollywood  to  mean  Indian  cinema  is  like  assum- 
ing that  no  one  in  the  United  States  outside  of  Hollywood  ever 
picks  up  a  camera.  With  over  a  billion  people,  22  official  lan- 
guages, and  hundreds  of  dialects,  India  has  no  singular  identity. 
Yet  it  is  commonly  mistaken  to  have  a  singular  cinema. 


Kaya  Taran  (courtesy  Ajit  Bhaskaran) 


India  produces  more  films  than  any  other  country  in  the 
world — around  800  features  a  year.  And  most  of  them  are  not 
from  Bollywood  (Bombay),  or  even  the  lesser-known  commer- 
cial film  centers  like  Andhra  Pradesh,  the  home  of 
"Tollywood" — or  Telugu-language  cinema.  Instead,  most 
Indian  films  are  non-commercial,  regional  fare  that  address 
economic,  political,  and  social  problems,  and  run  just  90-120 
minutes.  But  their  directors  face  a  Sisyphean  struggle  to  find 
distribution  for  their  work,  not  to  mention  an  audience.  Add 
insurmountable  language  barriers,  puritanical  censorship  laws, 
and  the  simple  fact  that  until  recently  theaters  had  just  four 
screening  slots  per  day,  intended  for  very  long  films,  and  you 
can  see  how  Bollywood  has  become  synonymous  with  Indian 
cinema. 

India's  "Indies" 

"The  term  'independent  cinema'  is  not  used  in  India,"  says 
Vinay  Lai,  a  cultural  historian  and  film  scholar  at  UCLA.  "In 


40  The  Independent  I  July/August  2005 


rhe  US,  of  course,  it  means  a  film  that's  somehow  outside  the 
studio  system,  whereas  in  India  you  don't  really  speak  of  inde- 
pendent cinema,  per  se."  Instead,  you  speak  of  "parallel"  cine- 
ma— a  term  coined  in  the  1970s  for  non-commercial  films  that 
don't  fit  the  Bollywood  paradigm. 

But  the  term  is  somewhat  misleading:  parallel  cinema  is  not 
a  monolithic  category,  and  it  hardly  keeps  pace  with  its  com- 
mercial counterparts.  Also  dubbed  "regional  cinema,"  parallel 
films  are  typically  in  languages  other  than  Hindi,  such  as 
Marathi,  Sanskrit,  or  Bengali.  Collectively,  they  reflect  the  India 
beyond  Bollywood — or,  as  some  have  argued,  the  "true"  India. 

"[Parallel  cinema]  tends  to  be  much  less  jingoistic,  much  less 
nationalistic  [than  Bollywood  films],"  Lai  says.  "And  I  think  to 
some  extent  they  grapple  with  what  you  might  call  the  'ground 
realities'  of  India.  So  they're  going  to  look  at  the  whole  array  of 
social  problems  that  the  popular  film  might  not  look  at,  such  as 
the  exportation  of  women  in  small  villages  or  the  relations 
between  landlords  and  landless  laborers."  Lai  quickly  adds  that 
class  issues  are  not  entirely  absent  from  popular  Hindi  cinema. 
But  because  independent  filmmakers  are  often  rooted  in  the 
Marxist  and  socialist  traditions  of  post-independence  India, 
they  are  more  likely  to  foreground  such  topics  than  Bollywood 
directors,  for  whom  wide,  commercial  appeal  is  paramount. 

"But  I  don't  think  that  parallel  cinema  is  necessarily  better  or 
more  reflective  of  what's  happening  in  India,"  Lai  says.  "It's 
quite  clear  to  me  that  the  popular  cinema  is  able  to  access  dif- 
ferent kinds  of  social  worlds  and  do  it  quite  adequately." 

The  difference  is  in  degree,  and  in  the  tradition  a  given  film- 
maker— commercial  or  non — may  be  following. 

Three  Traditions 

Shortly  after  India  declared  independence  from  Great  Britain 
in  1947,  three  types  of  cinema  began  to  emerge.  Bollywood 
promptly  became  the  preeminent  Indian  cinema,  and  its  style 
was  soon  determined  by  the  musical  sequences,  opulent  set- 
tings, and  high  production  values  that  still  define  the  form 
today.  And  the  films  were  always  long — three  hours  on  aver- 
age— in  order  to  provide  a  full  evening's  entertainment  for  poor 
audiences. 

The  second — "middle  cinema" — were  Hindi-language  films 
that  often  featured  Bollywood  talent  but  were  produced  on 
relatively  small  budgets.  These  films  targeted  the  same  audience 
as  commercial  cinema,  but  they  often  broke  the  Bollywood 
mold  and  addressed  social  and  political  issues. 

Finally,  there  was  the  so-called  "art  cinema,"  the  least 
commercial  of  the  three.  These  films  often  did  well  at  festivals 
but  had  trouble  at  the  box  office.  Indian  auteurs  of  the  1950s 
and  1960s  like  Satyajit  Ray,  Ritwik  Ghatak,  and  Mrinal  Sen  are 
still  cited  among  the  likes  of  Godard,  Bergman,  Fellini,  and 
Hitchcock  as  masters  of  their  medium.  Today,  Lai  suggests,  the 
"middle"  and  "art"  cinemas  have  merged,  establishing  just  two 


basic  categories:  Bollywood  and  parallel  cinema.  But  some 
Indian  filmmakers,  perhaps  for  political  or  even  marketing  pur- 
poses, still  identify  themselves  and  their  work  according  to  the 
previous  three  rubrics. 

Sashi  Kumar,  who  released  his  debut  feature,  Kaya  Taran,  in 
Bombay  and  Delhi  early  this  year,  says  that  "middle  cinema" 
still  exists.  "Increasingly  it's  called  the  crossover  film,"  he  says, 
"because  you  can  keep  crossing  over  to  this  side  and  that  side, 
depending  on  where  you  are.  But  there  are  other  filmmakers — 
and  I  like  to  think  that  I'm  among  them — who  are  in  clear 
opposition  to  that  kind  of  formula." 

Recent  Films 

Kaya  Tararis  plot  hinges  on  two  religion-motivated  genocides 
of  the  past  20  years:  the  anti-Sikh  riots  of  1984  in  Delhi,  which 
left  about  3,000  dead,  and  the  2002  slaughter  of  58  Hindus  by 


July/August  2005  I  The  Independent  41 


Sashi  Kumar  (courtesy  Ajit  Bhaskaran) 


an  alleged  Muslim  mob  aboard  a  train  in  the  northwest  region 
of  Gujarat.  The  latter  spurred  two  months  of  retaliatory  attacks 
that  killed  over  2,000  Muslims. 

Kumars  film  begins  in  the  aftermath  of  Gujarat,  with  a 
young  journalist  whose  research  for  an  article  about  religious 
conversions  takes  him  to  a  Catholic  convent  in  Delhi.  There,  he 
meets  a  nun  whom  he  recalls  having  saved  him  and  his  mother 
from  anti-Sikh  rioters  18  years  earlier.  Kaya  Taran  is  a  difficult 
film:  Kumar  weaves  together  elements  of  documentary,  mystery, 
and  personal  history  to  create  two  narrative  arcs  that  bear  no 
apparent  relation  to  each  other  until  the  film  is  almost  over. 
Instead,  the  director  requires  viewers  to  piece  it  together  them- 
selves, engaging  the  audience  in  a  way  seldom  found  in  com- 
mercial Indian  cinema. 

"I  think  that  cinema  of  this  kind  cannot  be  subject  to  the 
laws  of  universal  culture  or  mass  consumption,  or  be  directed  by 
the  tastes  of  consumers,"  Kumar  says.  "And  I  think  that  films 
like  this  are  influential  in  many  ways  because  they  get  people 
talking  about  issues,  and  they  give  [a  director]  the  sense  of  hav- 
ing made  some  kind  of  impact." 

Kumar's  goal  is  to  stop  what  he  calls  the  "willful,  collective 
amnesia"  among  people  that  follows  such  atrocities  as  those  in 
his  film.  "With  time,  as  memory  gets  erased,  we  exonerate  the 
culpable,"  he  says. 

One  of  India's  premier  broadcast  journalists  for  25  years, 
Kumar  funded  and  produced  Kaya  Taran  himself  for  $300,000. 
To  appease  censors,  he  had  to  display  a  disclaimer  during  the 
film's  titles  that  identifies  it  as  a  work  of  fiction — though  he 
emphatically  refutes  that  claim  in  conversation.  Still,  he  says  the 
biggest  hurdle  was  publicizing  the  film,  a  prohibitive  cost  for 
many  independent  filmmakers  in  India  (indeed,  anywhere). 

Kaya  Taran  ran  for  10  days  in  Delhi  and  one  week  in 
Bombay,  at  multiplexes  in  those  cities.  A  burgeoning  phenom- 


enon across  India,  the  multiplex  provides  unprecedented 
opportunities  for  non-commercial  filmmakers  to  exhibit 
their  work.  With  the  addition  of  hundreds  of  new  screens 
over  the  last  five  years,  multiplex  owners  are  willing  to  risk 
showing  films  that  won't  generate  the  proceeds  of  a 
Bollywood  film.  Indeed,  Kumar's  film  attracted  less  than  25 
people  per  night  during  its  two  runs. 

The  reason  is  simple,  and  a  little  ironic:  Kaya  Taran  is  a 
Hindi-language  film,  accessible  to  a  quarter-billion  people  in 
India,  and  it  screened  in  the  country's  largest  two  cities.  But 
it  failed  at  the  box  office  because  it  was  competing  with  the 
lighter,  happier,  more  entertaining  Bollywood  fare  also 
screening  those  nights.  Meanwhile,  an  Assamese-language 
film  from  Assam,  in  the  northeast  corner  of  India,  may  have 
significant  success  in  that  region.  In  fact,  if  it  became  reallv 
popular,  it  could  even  be  picked  up  by  a  Bombay  studio  and 
remade  in  Hindi. 

"But  if  you're  a  Hindi  filmmaker,  making  a  film  on  a  much 
smaller  scale  with  a  much  smaller  budget  about  progressive 
social  values,  [your  work]  more  or  less  gets  drowned  out,"  Lai 
says.  "So  I  think  those  films  get  less  of  a  hearing,  whereas 
regional  films  may  get  more  of  a  hearing  because  their  audiences 
are  already  more  attuned  to  that  kind  of  cinema." 

On  the  other  hand,  Kumar  says  that  screening  a  film  like 
Kaya  Taran  in  major,  Hindi-speaking  cities  also  maximizes  an 
independent  filmmaker's  odds.  "You  have  a  bigger  market,  so 
you  can  have  your  film  seen  in  many  places  at  different  times — 
and  you're  more  likely  to  recoup  your  costs,"  he  says. 

Shonali  Bose,  an  Indian  filmmaker  now  based  in  Los  Angeles 
who  premiered  her  debut  feature,  Amu,  at  multiplexes  in  India 
last  January,  says:  "I've  had  young  people  and  college  students 
come  up  to  me  and  say  they  went  to  my  film  at  a  multiplex 
because  they  couldn't  get  tickets  to  the  big  film  they'd  meant  to 
see.  They  said  they  expected  to  walk  out  after  1 5  minutes,  that 
[my  film]  didn't  sounded  like  something  they'd  be  interested  in. 
But  they  just  got  hooked." 

Like  Kaya  Taran,  Amu  focuses  on  a  young  protagonist — in  this 
case  an  Indian  woman  now  living  in  the  United  States — as  she 
discovers  how  her  own  past  coincides  with  the  anti-Sikh  riots  of 
1984.  Also  like  Kaya  Taran,  Amu  is  part-mystery,  but  less  difficult 
viewing  than  Kumar's  film.  "[Filmmakers  like  me]  are  taking  dif- 
ferent themes,  but  using  narrative  in  a  way  that's  accessible  and 
can  reach  a  wider  audience,"  she  says.  "That  way  it's  not  just  an 
intellectual  cinema." 

Kumar's  film  is  not  strictly  intellectual,  but  it  is  more  experi- 
mental in  its  form  than  Amu.  And  this  was  largely  the  point:  "At 
heart  I'm  still  a  journalist,"  Kumar  says.  "But  I'm  also  very  frus- 
trated with  journalism.  While  journalism  can  deal  with  facts,  facts 
don't  mean  a  thing  beyond  a  point.  If  you  want  to  give  a  sense  of 
the  truth,  you  have  to  be  an  artist." 

A.mu  also  represents  another  strand  of  contemporary  Indian 
cinema.  Over  the  past  five  years,  increasing  numbers  of  non-resi- 
dent Indians — or  NRIs — in  the  United  States,  Canada,  Australia, 


42  The  Independent  I  July/August  2005 


Shonali  Bose,  an  Indian  filmmaker  based  in  Los  Angeles,  premiered  her  debut  feature,  Amu,  in  India  last  January 
(courtesy  of  Jonai  Productions) 


and  Great  Britain  have  begun  making  films  that  specifically 
address  the  challenges  they  face  in  reconciling  their  two  cultures 
into  a  coherent  personal  identity.  Such  films  are  often  set  outside 
of  India  and  feature  westernized  characters  as  they  struggle  with, 
or  discover  their  Indian  heritage  for  the  first  time. 

One  such  film,  Leela  (2002),  tells  the  story  of  an  Indian 
woman  who  breaks  Indian  customs  when  she  leaves  her  hus- 
band and  moves  to  the  United  States  to  teach  at  an  American 
university.  There,  she  develops  a  close  bond  with  one  of  her 
male  students,  an  Indian-American  who  is  wrestling  with  his 
own  cultural  identity.  "It's  kind  of  a  Graduate  meets  Summer  of 
'42"  says  the  film's  producer,  Kavita  Munjal. 

Unlike  Kaya  Taran  and  Amu,  Leela  used  Bollywood  stars,  but 
Munjal  and  the  film's  director,  Somnath  Sen,  sought  funding 
themselves  and  shot  the  film  in  just  25  days — all  but  one  in  Los 
Angeles.  In  form,  too,  Leela  embodies  this  conflation  of  Indian 
and  American  cinema.  "Leela  was  really  a  marriage  of  western 
forms,  in  terms  of  storytelling,  using  the  three-act  structure, 
with  the  Indian  way  of  telling  stories,"  Munjal  says.  "There's  a 
lot  of  music  and  dance." 

The  latter  quality  garnered  the  film  a  lot  of  attention  in  India 
during  its  1 5-week  run,  but  the  former  disqualified  it  at  awards 
ceremonies.  "We  used  a  top-level  Indian  cast,  it  had  songs  and 


dances,  and  we  shot  in  India  for  one  day.  But  all  of  our  financ- 
ing was  US-based,  and  our  production  company  was  based  in 
the  US,  so  we  were  considered  a  foreign  film,"  Munjal  says — 
specifically,  an  American  film.  "But  I  think  that  more  than 
American  or  Indian,  I  just  view  it  as  world  cinema." 

Films  like  Leela  also  reflect  a  growing  frustration  with 
Bollywood's  treatment  of  the  NRI  experience.  "If  Bollywood 
makes  a  film  about  NRIs,  it's  about  the  rich  NRIs,"  says  Bose. 
"There's  no  reflection  of  the  struggles  they  face  here,  or  of  what's 
happening  in  the  rest  of  American  society.  It's  just  glamorized." 
They  also  tend  to  reflect  antiquated  social  customs,  traditional 
family  values,  and  conservative  politics,  further  capitalizing  on 
the  nostalgia  among  certain  NRIs  for  a  motherland  that  no 
longer  exists.  And  they  altogether  ignore  the  NRI  experience  in 
third-world  countries  like  Trinidad,  South  Africa,  and  Fiji — all 
of  which  have  large  populations  of  Indian  emigres. 

But  the  films  and  filmmakers  discussed  above  represent  a  new 
Indian  cinema,  one  that  departs  from  such  rose-colored  fictions. 

"And  this  new  kind  of  auteurship  is  not  to  be  underestimated," 
Kumar  says.  "Young  people  all  over  India  are  taking  their  cameras 
and  shooting  their  stories  and  expressing  their  concerns.  And  this 
is  gathering  as  one  huge  oppositional  form  of  art  to  the  bigger, 
Bollywood  narrative  that  has  been  developing  lor  decades."   ■& 


July/August  2005  I  The  Independent    43 


once  upon  a  time  in 

MEXICO 


The  next  chapter  in  cinema 


BY  VICTOR  PAYAN 


The  Mexican  film  community  has  always  prided  itself 
on  a  certain  international  nationalism  highlighted 
by  collaborations  with  world  class  cinematic  maver- 
icks such  as  Luis  Bunuel,  Sam  Peckinpah,  and 
Alejandro  Jodorowsky  In  recent  years,  film  renegades  such  as 
John  Sayles  and  Peter  Weir  have  headed  south  of  the  border  to 
realize  their  visions,  and  the  Mexican  New  Wave  that  began  in 
the  early  90s  with  films  like  Maria  Novaro's  Danzon  and 
Alfonso  Arau's  Like  Water  for  Chocolate,  proved  that  native 
talent  could  hold  its  own  on  the  international  arthouse  and 
festival  circuits. 

But  there's  a  new  Mexican  revolution  happening  that  started 
like  a  shot  heard  round  the  world  with  Alejandro  Gonzalez 
Inarritu's  2000  debut  film  Amores  Perros,  a  multiple  narrative 
feature  that  threw  audiences  relentlessly  into  the  chaotic  com- 
plexity and  the  limitless  labyrinth  of  the  contemporary 
Mexican  experience.  Like  their  predecessors  in  the  1990s,  the 


films  of  the  new  revolution  stand  firmly  in  a  Mexican  cinemat- 
ic tradition  characterized  in  equal  parts  by  a  rebellious  icono- 
clasm,  a  keen  political  awareness,  an  intimate  examination  of 
gender  relations,  a  profound  distrust  of  both  church  and  state, 
a  romantic  populism,  and  last  but  not  least,  a  savagely  honest 
and  absurdist  sense  of  humor.  And  with  Mexico's  traditional 
censorship  a  thing  of  the  past,  today's  directors  operate  with  a 
degree  of  freedom  that  is  changing  the  way  we  look  at  cinema. 

The  critical  and  commercial  success  of  films  like  Amores 
Perros  and  Alfonso  Cuaron's  Y  Tu  Mama  Tambien  the  following 
year,  catapulted  Mexican  films  onto  US  video  shelves  and 
sparked  a  reversal  of  the  decade-long  exodus  to  Hollywood  of 
native  talents  such  as  directors  Alfonso  Arau,  Guillermo  del 
Toro,  Luis  Mandoki,  and  cinematographers  Rodrigo  Prieto  and 
Emmanuel  Lubezki. 

Although  at  the  same  time  edgy  Mexican  films  were  earning 
accolades  at  international  festivals  and  box  offices,  the  revolu- 


44  The  Independent  I  July/August  2005 


tion  faced  some  serious  threats.  For  one  thing,  domestic  produc- 
tion during  the  last  decade  dropped  significantly.  According  to 
figures  released  by  the  Mexican  Senate  in  2004,  212  films  were 
made  in  Mexico  over  the  last  10  years,  compared  to  747  in  the 
previous  decade.  And  in  2002,  while  Mexican  director  Carlos 
Carrera's  El  Crimen  del  Padre  Amaro  was  causing  an  internation- 
al sensation,  Mexican  president  Vicente  Fox  proposed  a  sell-off 
of  the  Mexican  Film  Institute  IMCINE  and  the  national  film 
studio  Churubusco.  This  looming  privatization  struck  at  the 
heart  of  Mexico's  cinematic  and  cultural  identity,  as  IMCINE  is 
a  repository  for  the  masterworks  of  Mexico's  Golden  Age,  and 
Churubusco  is  where  many  of  them  were  filmed. 

Public  outcry  and  a  demonstration  at  the  Mexican  parliament 
building  by  the  cultural  community  ultimately  prevented  the 
sell-off,  but  the  threat  succeeded  in  galvanizing  Mexican  film- 
makers' sense  of  purpose.  With 
80    percent   or    Mexican    movie 
screens    already    dominated    by 
Hollywood  films,  they  were  not 
about  to  give  up  ground  or  open 
the     door     to     American-style 
action  films  and  a  return  to  the 
shoot-em-up         Mexploitation 
ficheras  that  proliferated  during 
the  80s. 

Actress  Vanessa  Bauche,  who 
starred  as  the  abused  wife  Susana 
in  Amores  Perros  and  is  one  of  the 
most  familiar  faces  in  Mexican 
cinema,  is  adamant  about  the 
potential  of  today's  film  gener- 
ation. She  says  that  the  lack  of 

money  available  for  production  forces  filmmakers  in  Mexico  to 
become  de  facto  auteurs.  "Out  of  10  films,  five  compete  in  inter- 
national competitions  and  two  or  three  do  well  at  the  box  office, 
and  that's  a  very  high  percentage  for  the  amount  of  films  that  are 
produced,"  Bauche  says. 

As  to  what  qualities  Mexican  filmmakers  have  to  contribute  to 
the  international  independent  film  community,  Bauche  is  very 
positive.  "I  think  the  grasp,  the  guts,  the  heart,''  she  says.  "[There 
are]  films  that  are  made  with  all  the  resources,  but  that  don't  have 
this  spirit,  which  is  one  of  struggle,  of  will,  of  survival." 

Bauche's  own  current  projects  highlight  the  diversity  of 
today's  Mexican  film  community.  She  is  starring  in  Gustavo 
Loza's  contemporary  emigration  film  Al  otro  lado  (not  to  be 
confused  with  Natalia  Almada's  2005  documentary  with  the 
same  name),  Felipe  Cazals's  period  piece  Las  vueltas  de  citrillo, 
and  Tommy  Lee  Jones's  directorial  debut  The  Three  Burials  of 
Melquiades  Estrada.  Written  by  Amores  Perros  screenwriter 
Guillermo  Arriaga,  Three  Burials  won  the  Best  Screenplay  award 
for  Arriaga  and  Best  Actor  award  for  Tommy  Lee  Jones  at 
Cannes  in  May. 

Multitalented  filmmaker  Sergio  Arau,  director  of  the  smart 


Omar  and  Andres  are  filmmakers  in  Baja  (courtesy  AMCI) 


mockumentary  A  Day  without  a  Mexican,  is  one  artist  who  left 
the  capital  during  the  slump  of  the  1990s.  An  accomplished 
cartoonist  and  musician,  Arau  grew  up  around  the  avant  garde 
Mexico  City  film  community  of  the  1960s,  which  included  his 
father,  actor/director  Alfonso  Arau  and  Chilean  transplant 
Alejandro  Jodorowsky.  Early  in  his  career,  the  younger  Arau 
worked  with  each — first  as  assistant  director  on  his  father's 
popular  1979  comedy  Mojado  Power!,  then  as  the  tattoo  design- 
er for  Jodorowsky's  1989  cult  classic  Santa  Sangre. 

Arau  says  he  learned  valuable  lessons  from  this  kamikaze 
community  of  counterculture  cineastes,  mimes,  and  street 
theater  artists.  "I  have  an  obsession  with  seeking  out  original 
ways  of  saying  things,"  Arau  says.  "I  improvise  a  lot.  You  have  the 
script,  but  the  script  is  just  a  guide.  Sometimes  it  pays  off,  and 
sometimes  it's  horrible.  But  that's  a  part  of  the  risk." 

After  studying  film  at  the 
CUEC,  Arau  relocated  to 
southern  California  in  the 
1990s.  It  was  there  he  pro- 
duced both  his  1998  animated 
short  El  Muro  and  the  short 
version  of  A  Day  without  a 
Mexican  with  his  wife,  per- 
formance artist  and  actress 
Yareli  Arizmendi.  As  a  short,  A 
Day  Without  a  Mexican  fast 
became  an  underground 
phenomenon,  positing  the  sce- 
nario of  what  would  happen  to 
the  California  economy  if  all 
the  Mexicans  disappeared. 
Playing  with  documentary 
and  TV  news  forms,  this  inventive  short  uses  comedy  to  skewer 
the  rising  anti-immigrant  sentiment  in  the  United  States.  When 
popular  demand  prompted  him  to  develop  the  concept  into  a 
feature  film,  Arau  sought  Hollywood  backing.  Initially,  potential 
flinders  asked  Arau  to  dumb  it  down  and  make  it  less  political. 
He  wasn't  interested. 

Financing  was  finally  secured  with  investors  from  Mexico  and 
Spain  buying  into  Arau's  offbeat  English-language  film  targeted 
at  the  US  market.  The  investment  paid  off,  as  the  film  resonat- 
ed with  audiences  on  both  sides  of  the  border.  Despite  its  limit- 
ed release,  A  Day  without  a  Mexican  surpassed  the  box  office 
draw  of  many  Hollywood  films  in  Mexico,  ultimately  earning 
$5.9  million  at  the  box  office.  In  its  first  three  months  on  DVD, 
the  film  sold  more  than  700,000  copies  and  grossed  more  than 
$12  million  in  rentals. 

Arau  says  his  film  also  received  a  show  of  support  from  an 
unlikely  source:  video  pirates.  "They  sent  us  many  messages  say- 
ing that  because  the  film  was  so  wonderful  for  our  people,  they 
wouldn't  make  bootlegs  until  the  film  ended  its  theatrical  run," 
Arau  says.  "And  the  same  thing  happened  in  Mexico.  They 
respected  us." 


July/August  2005  I  The  Independent  45 


Cuarto  Hotel  (courtesy  of  Pedro  Araneda/AMCI) 


Since  the  end  of  the  film's  box  office  run,  there  have  been 
numerous  bootlegs,  which  Arau  regards  with  an  admirable  sense 
of  humor.  "I  have  four  versions  from  Mexico  and  two  from  the 
US,"  he  says.  "And  I  have  a  friend  who  bought  one  in  Cambodia. 
I  was  very  honored,  because  it  was  the  only  Mexican  movie  to  be 
pirated  in  Cambodia." 

Another  filmmaker  who  is  working  outside  of  the  capital  is 
Beto  Gomez,  the  fresh-faced  director  of  the  stylish  border  box- 
ing movie  Punos  rosas.  Gomez  lives  in  Guadalajara,  the  home  of 
one  of  Mexico's  pre-eminent  film  festivals.  His  film,  which  is  set 
in  the  Matamoros/Brownsville  border  region,  examines  the 
often-slippery  definition  of  Mexican  masculinity  on  the  streets 
and  in  prison.  His  latest  project,  a  documentary  on  female 
Mexican  singers  called  Hasta  el  ultimo  trago,  comzon...!  features 
interviews  with  Lila  Downs,  Astrid  Hadad,  Chayito  Valdez,  and 
Chavela  Vargas. 

Hailing  from  the  northern  state  of  Sinaloa,  Gomez  studied 
film  in  Guadalajara,  Boston,  and  Vancouver.  Returning  to 
Mexico  to  work  in  television,  Gomez  found  the  Mexico  City 
film  community  a  bit  elitist.  As  an  outsider  to  the  film  establish- 
ment with  no  institutional  connections,  Gomez  looked  for  an 
alternative  route  to  achieving  his  goal.  "I  preferred  to  forget 


about  all  the  things  I  was  never  going  to  have,  and  with  the  few 
tools  that  I  (did  have),  to  make  movies." 

Gomez  embarked  on  a  trip  to  Spain  where  he  said  his  encoun- 
ters with  the  film  community  inspired  him  to  rethink  the  role  of 
the  filmmaker  as  a  more  communal  artist.  Coming  home  to 
Mexico,  Gomez  began  working  on  his  first  film,  ElAgujero  (The 
Hole),  a  narrative  feature  about  a  migrant  worker  who  returns  to 
his  village  after  many  years  in  the  United  States.  For  his  lead, 
Gomez  sought  out  famed  Mexican  actor  Roberto  Cobo,  best 
known  for  his  role  as  El  Jaibo  in  Luis  Bunuel's  1950  classic  Los 
Olvidados.  Cobo  said  yes,  and  after  a  12-day  shoot,  the  film 
ultimately  premiered  at  the  San  Sebastian  Film  Festival  in  1997. 

Gomez  says  the  elitism  he  witnessed  in  the  90s  has  since  given 
way  to  a  more  collaborative,  egalitarian  ethos,  with  filmmakers 
seeing  themselves  as  a  community  of  cultural  creatives  and  fine 
artisans  rather  than  film  stars  and  industry  big  shots.  "There  are 
very  few  films  made  in  Mexico,  but  there's  a  tremendous  pas- 
sion," he  says.  "There  are  interesting  stories.  And  despite  all  the 
problems  in  the  government  or  with  the  economy,  the  true 
Mexican  filmmaker  will  continue  filming  despite  wind  or  flood." 

The  decentralization  of  film  production  from  the  capital  and 
the  development  of  regional  voices  is  exactly  the  kind  of  move- 


46  The  Independent  I  July/August  2005 


ment  that  NYU  graduate  Pedro  Araneda  is  working  to  develop. 

In  1993,  Araneda  founded  AMCI,  the  Mexican  Association  of 
Independent  Filmmakers.  Today  AMCI  boasts  over  1,100  mem- 
bers and  its  film  school,  Universidad  del  Cine,  has  campuses  in 
Mexico  City,  Monterrey  and  Guadalajara.  Araneda  says  the  com- 
bined realities  of  low  wages  and  traditional  lack  of  institutional 
support  outside  of  Mexico  City  drive  the  inventiveness  of 
Mexican  filmmakers.  "Since  it's  more  difficult  for  us  to  shoot," 
Araneda  says.  "When  we  have  a  camera,  its  like  the  opportunity 
to  enter  a  temple  where  we  can  create." 

AMCI  helps  filmmakers  with  production  resources  and  has 
even  produced  a  few  projects,  including  a  feature-length  compi- 
lation of  independent  shorts  by  regional  filmmakers  called 
Accion  en  Movimiento,  Toma  1.  The  compilation  premiered  at 
AMCI's  first  film  festival,  Accion  en  Movimiento,  which  took 
place  earlier  this  year  in  Monterrey. 

Araneda  believes  that  the  Mexican  film  industry  is  healthy,  but 
is  also  vulnerable  in  many  areas.  President  Fox's  proposed  sell-off 
of  IMCINE  and  Churubusco  gave  Mexican  filmmakers  a  harsh 
wakeup  call  as  to  how  precarious  their  film  infrastructure  really  is. 
Araneda  stresses  the  need  to  develop  more  public-private  collab- 
orations, encourage  US-Mexico  co-productions,  and  to  foster 
more  Mexican  producers.  "There's  tons  of  great  screenwriters, 
tons  of  great  directors,  but  right  now,  for  example,  the  aim  of 
Universidad  del  Cine,  is  to  create  producers,  because  the  produc- 
er is  the  machine  that  is  going  to  create  the  industry,"  he  says. 

The  job  of  the  Mexican  producer  has  been  given  a  boost  with 
the  establishment  ot  FIDECINE,  a  federal  program  that  provides 
up  to  49  percent  of  a  Mexican  film's  production  cost  through  soft 
monies.  Some  recent  films  that  have  received  support  from 
FIDECINE  include  Japon  (2002),  Temporada  de paws  (2004),  A 
Day  without  a  Mexican  (2004)  and  Gabriel  Retes's  fanciful  festi- 
val spoof  @Festivbercine.ron  (2004).  And  earlier  this  year,  a  new 
three  percent  tax  incentive  for  local  production  went  into  effect. 

Araneda  recently  visited  the  bustling  border  city  of  Tijuana  to 
take  part  in  the  first  annual  Baja  California  Film,  Television  and 
Video  Festival.  The  event  was  co-presented  by  the  Tijuana 
Cultural  Center  and  Fox  Studios  Baja,  where  James  Cameron's 
1997  blockbuster  Titanic  was  filmed.  Since  its  creation  as  a 
self-contained  state-of-the-art  production  facility  in  the  mid-90s, 
Fox  Studio  Baja  has  brought  a  steady  stream  of  big  budget 
Hollywood  films  to  the  region,  including  Tomorrow  Never  Dies 
(1997),  Pearl  Harbor  (2001),  and  Master  and  Commander '(2003) . 
These  films  utilize  a  significant  number  of  Mexican  industry  pro- 
fessionals, most  coming  from  Mexico  City.  But  to  get  to  the  toll 
road  that  leads  you  to  the  sunny  seaside  studio,  you  must  first  pass 
through  Tijuana. 

Tijuana,  nicknamed  the  "City  of  Future,"  is  home  to 
Homeland  Security  showdowns  and  low-cost  prescription  med- 
ication. It  is  also  home  to  the  emerging  Border  Wave  movement. 
Experimental  videomaker  Aaron  Soto  is  the  spokesperson  for  the 
group,  which  was  informally  recognized  for  the  first  time  in  2004 
at  the  2nd  Annual  Morelia  International  Film  Festival  in 
Michoacan.  The  festival,  which  celebrates  international  film 
while  also  showcasing  filmmakers  from  Michoacan,  featured  a 


Pedro  Araneda  on  set  (courtesy  AMCI) 


Mexican-American  conference  on  independent  film  and  video. 

Soto  and  his  video  short,  33  112,  which  was  characterized  by 
the  festival  jury  as  being  "outside  of  any  category,"  are  emblemat- 
ic of  the  work  being  produced  by  Tijuana's  young  experimental 
Wild  Bunch.  "The  cultural  push  of  the  foreigner  wants  to  sell  us 
our  own  image  as  if  it  were  some  tourist  video,"  Soto  says.  "In 
Tijuana  we're  very  aware  of  that.  I  always  say  that  in  Tijuana,  we 
have  the  best  seat  in  the  house,  because  we  can  turn  to  see  how 
the  Americans  are  trying  to  con  us,  and  we  can  turn  to  see  how 
the  Mexicans  are  trying  to  con  us." 

The  proximity  to  San  Diego  has  also  opened  up  a  world  of 
technology,  equipment  and  assistance  that  had  been  lacking.  "We 
bring  it  to  Mexico  first,  through  San  Diego,  long  before  it  gets  to 
the  film  schools  in  the  capital,"  Soto  says.  "And  that  wasn't  so 
before.  And  that's  why  I  think  that  Tijuana  is  one  of  the  cities  that 
will  figure  prominently  in  the  future  of  art  and  cinema. 
Something  important  is  happening  here.  This  is  the  perfect 
bridge  for  creating  cinema  between  both  nations." 

The  future  promises  continued  hope  for  Mexican  cinema,  with 
new  works  on  the  horizon  by  directors  such  as  Jaime  Humberto 
Hermosillo,  Guillermo  del  Toro,  Marisa  Sistach,  Maria  Novaro, 
and  Carlos  Bolado.  Amores  Perros  team  Alejandro  Gonzalez 
Inarritu  and  Guillermo  Arriaga  were  at  Cannes  in  May  shopping 
around  their  latest  project,  Babel  which  stars  Gael  Garcia  Bernal, 
Brad  Pitt,  and  Cate  Blanchett. 

With  the  term  Mexican  New  Wave  not  so  new  anymore,  it  is 
time  to  examine  the  sustained  efforts  of  a  creative  community  to 
continue  producing  challenging,  innovative  and  award-winning 
work.  Hard  fought  gains  in  freedom  of  expression  and  an  inter- 
national reputation  built  over  the  last  15  years  have  given 
Mexican  filmmakers  a  sense  of  identity  and  purpose  that  main- 
tains the  core  values  of  their  film  heritage  while  adding  new 
voices  to  the  global,  social,  and  political  dialogue.  Additionally, 
this  community  is  making  use  of  new  developments  in  infra- 
structure, distributing,  financing  and  technology  that  did  not 
exist  in  1992.  Branching  into  the  borderlands  and  already 
making  incursions  into  the  US  independent  film  community,  it 
is  a  movement  that  can  make  revolutionaries  of  us  all.   ik 


July/August  2005  I  The  Independent  47 


Foreign  Film  Distributors 


BY  MARGARET  COBLE 

In  America's  independent 
foreign  film  market,  dif- 
ferent distributors  have 
different  things  to  offer, 
depending  on  their  size,  spe- 
cialty areas,  experience,  and 
level  of  commitment  to  the 
foreign  genre.  For  this  issue,  we  talked  to  a  random  sampling  of 
American  independent  film  distributors — from  larger  full  service 
companies  to  newer  start-ups — about  their  involvement  with  for- 
eign film  and  their  thoughts  on  the  temperature  of  the  inde- 
pendent foreign  market  today. 

First  Run  Features 

Founded  in  1979  by  a  collective  of  filmmakers  unafraid  to  take 
risks  with  independent  film,  New  York's  First  Run  Features  is 
known  for  its  extensive  catalog  of  left-leaning  political,  social,  and 
humanitarian  issue  films,  and  from  the  beginning  it  has  had  a 


A  roundup  from 
-service  to 


start-up 


strong  interest  in  unique  for- 
eign titles  and  emerging  foreign 
filmmakers.  Run  by  Seymour 
Wish  man  lor  the  past  20  years, 
First  Run  has  stayed  true  to  its 
indie  roots.  And  despite  com- 
bining its  non-theatrical  educa- 
tional division  with  Icarus  Films  (to  form  First  Run/Icarus  Films) 
in  1987,  it  remains  mid-sized,  employing  a  staff  of  just  20 
between  the  two  divisions.  Its  theatrical  reach,  though,  (12-15 
films  per  year),  home  (up  to  50  videos/DVDs  annually),  and 
non-theatrical  (via  First  Run/Icarus  Films'  catalog  of  700  titles)  is 
formidable,  positioning  FRF  as  one  of  the  leading  indie  distribu- 
tors in  the  United  States. 

In  recent  years,  FRF  has  distinguished  its  devotion  to  world 
cinema  through  notable  theatrical  acquisitions — like  their  cur- 
rent releases  Torremolinos  73,  a  Spanish  comedy,  and  Le  Grand 
Role,  a  French-Jewish  comedy — and  by  forging  several  new  part- 


48  The  Independent  I  July/August  2005 


03 


nerships  and  launching  several  new  international  series. 

Additional  acquisitions  from  this  year's  festival  circuit  include 
the  German  films  Go  For  Zuker  and  Agues  and  His  Brothers. 

''Go  For  Zuker  is  an  interesting  one  to  speak  of,  as  it's  one  of  the 
first,  if  not  the  first,  German  comedy  made  about  Jewish  culture 
and  life,"  says  FRF's  Director  of  Business  Affairs  Cleo  Godsey. 
"We  have  a  strong  collection  of  Jewish  interest  films  and  so  that 
fits  nicely  in  that  collection." 

More  prominently,  First  Run  has  joined  forces  with  The 
Global  Film  Initiative,  a  New  York-based,  nonprofit  foundation 
whose  mission  is  to  promote  cross-cultural  understanding 
through  cinema.  GFI  tours  10  narrative  films  from  the  develop- 
ing world  each  year  via  leading  cultural  institutions  in  14  US 
cities,  and  First  Run  has  signed  on  to  be  the  exclusive  North 
American  commercial  distributor  of  these  films  to  the  home 
video,  theatrical/semi-theatrical,  and  television  markets.  The 
DVD  series,  called  the  Global  Lens  Collection,  launched  in  the 
first  quarter  of  2005  with  the  Brazilian  film  Mango  Yellow  and 
Algerian  title  Rachida. 

"These  films  have  been  overlooked  by  even  distributors  our 
size  because  they  are  challenging,  artistically  or  content-wise," 
Godsey  says  of  the  Global  Lens  Collection.  "They  will  not  obvi- 
ously garner  a  big  or  even  decent  sized  box  office  as  a  foreign 
release.  So  it  fit  with  our  profile  to  work  with  them.  We've  always 
supported  foreign  films  that  are  more  challenging,  films  that  give 
some  kind  of  look  at  the  culture  from  a  different  angle  and  aren't 
just  entertainment  driven." 

FRF  also  has  an  alliance  with  Human  Rights  Watch,  which 
launched  in  May  2004  with  the  film  S21:  The  Khmer  Rouge 
Killing  Machine,  to  spotlight  various  FRF  titles  that  deal  with 


human  rights  issues.  These  include  both  theatrical  releases  and  a 
DVD  series  that  features  bonus  material  from  HRW  related  to 
the  film's  country  or  subject  matter.  FRF  is  also  the  exclusive 
home  video  distributor  lor  the  DEFA  (Deutsche  Film 
Aktiengesellschaft)  Collection,  a  diverse  body  of  films  from  the 
state-run  studio  of  the  former  German  Democratic  Republic 
(East  Germany).  And  their  newest  collaboration  is  with  the  Asia 
Society  in  New  York  to  release  Chinese  films  theatrically,  on 
home  video  and  television.  That  series  will  launch  with  Electric 
Shadows,  the  feature  debut  by  Chinese  filmmaker  Xiao  Jiang. 

"In  terms  of  business,  it's  a  nice  niche  in  the  American  mar- 
ketplace to  have  smart  foreign  films,"  Godsey  says.  "The  foreign 
film  market  is  growing  in  some  areas,  but  it's  still  a  challenge  the- 
atrically and  still  a  challenge  on  television.  But  in  home  video, 
and  via  the  internet,  there's  been  a  growth.  Its  harder  for  theaters 
to  have  long  runs  of  these  kind  ol  films  and  hard  for  television  to 
justify  their  economic  model  with  films  that  no  one's  ever  heard 
of  or  are  subtitled.  But  with  our  first  Global  Lens  titles  to  come 
out,  there  was  a  response  from  some  of  the  internet  buyers  that 
was  very  strong — Amazon  and  Netflix.  Stronger  than  we  thought 
it  would  be." 

For  more  information,  visit  www.firstrunfeatures.com. 

The  Cinema  Guild 

The  Cinema  Guild,  founded  in  1972  by  award-winning  pro- 
ducers Philip  and  Mary-Ann  Hobel  (best  known  for  the  Academy 
Award-winning  Tender  Mercies),  is  regarded  as  one  of  the  leading 
independent  distributors  of  indie,  foreign,  and  documentary 
films  in  the  United  States.  Specializing  in  the  non-theatrical/edu- 
cational market,  the  New  York-based  company  has  only  begun 


July/August  2005  I  The  Independent  49 


releasing  films  theatrically  in  the  past  five  years.  "So  in  a  sense 
we're  both  an  old  and  new  company,"  says  Director  of  Feature 
Distribution  Ryan  Krivoshey,  one  of  only  six  employees  at  The 
Cinema  Guild. 

Now  a  full  service  distributor  releasing  theatrically,  on  home 
video/DVD,  and  television/cable/  satellite,  as  well  as  continuing 
its  commitment  to  the  non-theatrical/educational  market,  The 
Cinema  Guild  is  currently  taking  much  more  interest  in  foreign 
films,  especially  narratives.  Of  the  900  or  so  titles  in  their  non- 
theatrical  catalog,  Krivoshey  estimates  30  to  40  percent  have  been 
foreign.  But  in  terms  of  their  recent  theatrical  releases,  80  to  90 
percent  are  foreign  language. 

"A  pretty  big  part  of  what  we  do  and  have  done  is  selling  doc- 
umentaries to  universities,  educational  institutions,  and  libraries 
across  the  country,"  Krivoshey  says.  "Universities  will  buy  films 
more  on  subject  and  content  as  opposed  to  foreign  language.  But 
in  theatrical,  it's  interesting — we  tend  to  focus  more  on  foreign 
movies.  I  think  maybe  because  the  [commercial  theatrical]  mar- 


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ket  has  shifted  away  from  [international  films],  which  has  opened 
up  an  opportunity  for  smaller  companies  to  get  good  quality  for- 
eign movies.  Bigger  companies  are  going  for  documentaries  and 
American  independents,  and  a  lot  of  good  foreign  movies  are  get- 
ting overlooked  now.  So  we  try  to  find  the  gems  that  fall  through 
the  cracks." 

The  Cinema  Guild  had  a  recent  theatrical  hit  in  May  with  the 
French  film  A  Tout  de  Suite,  by  Benoit  Jacquot,  which  had  the 
biggest  per  screen  average  for  an  indie  on  its  opening  weekend. 


"It's  always  nice  when  that  happens,"  Krivoshey  says. 

Other  recent/current  foreign  theatrical  releases  include  the 
French-Japanese  cross-cultural  comedy  Fear  and  Trembling  and 
the  Australian  love  story  Oyster  Farmer,  while  the  Danish  drama 
The  Inheritance  and  Icelandic  dark  comedy  The  Seagull's  Laughter 
have  recently  been  released  on  DVD. 

For  more  information,  visit  www.cinemaguild.com. 

7th  Art  Releasing 

"The  most  unique  feature  of  7th  Art  Releasing  is  that  we're 
almost  fully  concentrated  on  documentary  films,"  states  Udy 
Epstein,  co-founder  and  principle  of  the  five-employee,  Los 
Angeles-based  boutique  theatrical/video  distribution  house  and 
foreign  sales  company  which  has  been  around  since  1994. 

Probably  best  known  for  its  release  of  the  1997  Oscar-win- 
ning documentary  The  Long  Way  Home,  7th  Art  has  also  had  its 
share  of  eclectic  narrative  fare  in  its  catalog  of  more  than  150 
films — from  the  Ben  Affleck  screwball  comedy  Glory  Daze  and 
erotic   thriller    Sister  My   Sister,    to 
foreign  art  house  dramas   like  the 
Swiss-Tunisian  production  Honey  & 
Ashes  and  the  Norwegian  epic   The 
Last  Lieutenant.    But   the   bulk   of 
what  they've  handled  in  their  first 
10  years  has  been  American-made 
historical,  social-issue  and  pop-cul- 
tural documentaries  like   The  Nazi 
Officers    Wife,    The   Farm:   Angola, 
USA,  and  Word  Wars. 

Though    few    and    far   between, 
Epstein  says  there  have  been  a  couple 
of  foreign  documentaries,  too,  but 
it's  a  very  limited  market.  "When  you 
think  about  it,  most  foreign  docu- 
mentaries— and  of  course  there  are 
always    exceptions — don't    make    it 
over  here,"  he  says.  "Even  those  shot 
in    foreign    countries    are    mostly 
American  productions.  For  example, 
Born  into  Brothels  (Zana  Briski  and 
Ross   Kaufman,  2004)  was  shot  in 
India,  but  it's  an  American  film — 
American  producer,  director,  and  the 
whole  approach  is  somebody  from  here  going  there.  But  if  you 
look  at  the  real  foreign  documentaries,  made  by  people  in  other 
countries  and  in  foreign  languages,  they  don't  cross  over  that 
much.  We  do  some  of  those,  and  historically  have  done  some  of 
those  over  the  years."  Examples  of  such  include  the  German- 
made  Havana,  Mi  Amor,  last  year's  Spanish-produced  festival 
favorite  Balseros,  as  well  as  their  current  release,   The  Swenkas,  a 
Danish  production  shot  in  South  Africa  that's  still  making  the 
rounds  of  festivals  and  will  have  a  theatrical  release  later  this  year. 


50  The  Independent  I  July/August  2005 


7th  Art  offers  a  variety  of  distribution  channels,  including  the- 
atrical, TV/cable,  home  video/DVD,  and  non-theatrical.  "We 
cover  the  gamut,"  Epstein  says,  adding  that  typically,  when  it 
comes  to  the  home  video  market,  they  work  with  third  parties. 

In  general,  Epstein  believes  the  demand  for  foreign  titles  in  the 
US  has  somewhat  leveled  off  in  recent  years.  "From  my  vantage 
point,  thinking  about  the  more  limited  releases,  I  think  the  mar- 
ket is  pretty  steady,"  he  says.  "In  the  1970s,  there  were  art  houses 
that  were  showing  foreign  films  day  and  night,  but  there's  been  a 
huge  decline  throughout  the  1990s.  And  now  I  think  we've  got- 
ten to  some  sort  of  a  plateau.  It's  a  small  market,  and  there's 
always  one  or  two  bigger  films  that  are  pushed  by  bigger  compa- 
nies, and  that  really  see  there's  a  chance  to  get  some  box  office 
heat.  But  for  the  most  part  those  art  films — some  of  them  good, 
some  of  them  less  so — tend  to  perform  on  a  plateau.  There's  no 
more  interest  today  than  there  was  last  year.  But  if  the  market  is 
going  to  turn  at  one  point,  it's  going  to  turn  upward." 

For  more  information,  visit  www.7thart.com. 

DInsdale  Releasing 

An  outgrowth  of  the  12-year-old  Chicago  film  publicity  and 
marketing  firm  The  Dinsdale  Group,  Dinsdale  Releasing  is  the 
young,  up-and-coming  distribution  company  specializing  in  the- 
atrical and  non-theatrical  release  of  independent  and  foreign 
films,  mostly  in  the  underground/cult/horror  genre.  Thus  far, 
Dinsdale  has  worked  with  third  parties  for  home  video/DVD  dis- 
tribution (primarily  MPI  Home  Video),  and  has  about  eight  titles 
in  their  catalog. 

Its  most  high  profile  release  has  been  the  cult  hit  The  Manson 
Family,  a  1 5-years-in-the-making  American  production  by  direc- 


tor Jim  Van  Bebber  that  was  finally  completed  with  funds  anteed 
up  by  British  home  video  distributor  Blue  Underground,  which 
then  brought  it  back  to  the  United  States  via  a  deal  with 
MPI/Dark  Sky  Films.  Dinsdale  Releasing  handled  the  film's  art 
house  theatrical  run. 

Their  only  current  foreign  title,  which  is  not  foreign  language 
but  an  Australian  production,  is  Bad  Boy  Bubby  by  Rolf  de  Heer, 
a  1993  Venice  Film  Festival  Jury  Grand  Prize  winner  which  sat 
unreleased  for  10  years  but  is  finally  seeing  the  light  of  day.  Their 
other  current  theatrical  release  is  Chaos,  by  American  director 
David  DeFalco,  a  horror  flick  that  will  get  limited  release  this 
summer. 

"My  company  is  totally  open  to  looking  at  foreign  films,"  says 
Jay  Bliznick,  Dinsdale's  sole  proprietor  and  one  of  the  founders  of 
the  Chicago  Underground  Film  Festival.  "It's  where  some  of  the 
best  art  house  films  are  coming  from.  We  definitely  have  open 
acquisitions  for  that  sort  of  thing.  It's  a  huge  priority,  as  there's  a 
lot  of  great  movies  out  there  that  are  not  being  released  correctly 
in  this  country."  He  cites  as  an  example  the  Spanish  cult  film 
Perdita  Durango,  a  1 997  Mexican  road  movie  directed  by  Alex  de 
la  Iglesia,  and  starring  Rosie  Perez  and  Javier  Bardem,  which,  in 
Bliznick's  opinion,  suffered  extensive  cuts  and  was  regretfully 
renamed  Dance  With  The  Devil  for  distribution  in  the  United 
States  by  A-Pix  Entertainment. 

"That's  one  of  the  problems  with  foreign  film  right  now," 
Bliznick  says.  "Everybody's  looking  for  something  that  they  can 
cut  down  to  an  R  rating  because  they  are  so  afraid.  I'd  rather  take 
a  chance  trying  to  book  a  really  difficult  movie.  I  want  to  main- 
tain the  artist's  sensibilities." 
For  more  information,  visit  www.dinsdalegroup.com.  •& 


July/August  2005  I  The  Independent  51 


LEGAL 


By  Fernando  Ramirez,  Esq. 

Distribution.  The  Deal.  That's  the 
goal  of any  independent  producer 
after  finishing  production  within 
budget  and  on  schedule.  Ideally,  a  film- 
maker would  want  to  have  the  film  or 
program  distributed  by  a  single  company 
with  a  reputable  track  record  that  would 
handle  distribution  in  every  market. 
However,  although  major  distribution 
companies  deal  in  both  the  domestic  and 
foreign  markets,  as  well  as  all  media 
(non-theatrical,  television,  DVD),  inde- 
pendent or  niche-market  distributors 
usually  wont  handle  both  domestic  and 
foreign  markets,  and  sometimes  even 
within  specified  territories  they  only  deal 
with  certain  media. 

Distribution  and  licensing  agreements 
define  domestic  rights  as  the  United 
States  (including  its  territories,  posses- 
sions and  military  bases)  and  Canada, 
and  they  define  foreign  rights  as  the  rest 
of  the  world  or  specified  countries  or 
regions.  Categories  of  media  rights  com- 
monly granted  or  licensed  include  the- 
atrical, video,  television,  and  ancillary 
rights,  which  in  turn  can  be  separated 
further  (television  rights  include  Pay  TV, 
Pay  Per  View  TV,  Video  On  Demand, 
and  Basic  Cable).  If  a  filmmaker  does  not 
sell  all  distribution  rights  in  the  film  to  a 
single  company,  either  because  the  film- 
maker cannot  or  does  not  want  to  secure 
this  type  of  deal,  a  filmmaker  can  "split" 
the  rights,  or  in  other  words  enter  into 


Acing 

the 

Deal 


The  art  of  negotiating 
film  distribution 


more  than  one  licensing  arrangement 
according  to  specified  countries  and/or 
media. 

Filmmakers  should  be  aware  that  typi- 
cally a  small  or  niche  market  distributor 
working  within  domestic  territories  who 
is  granted  all  rights  (worldwide  in  any 
and  all  media)  will  enter  into  separate 
agreements  with  foreign  subdistributors 
or  "foreign  sales  agents"  to  handle  licens- 
ing and  sales  outside  of  the  domestic 
market,  per  country  or  region.  Given  the 
right  set  of  circumstances,  if  filmmakers 
retain  foreign  rights,  they  can  enter  into 
these  arrangements  themselves.  This 
could  mean  more  money  for  the  film- 
maker (assuming  any  "profits"  are  made) 
in  part  because  the  domestic  market 
distributor  will  have  to  pay  the  subdis- 
tributor or  foreign  sales  agent  a  fee  or 
commission  for  handling  the  film  or 
program,  alter  which  the  domestic 
distributor  will  keep  its  lee  or  percentage. 

Territory,  media,  and  additional  terms 
by  which  these  rights  are  transferred  or 
licensed  are  spelled  out  in  an  agreement. 
As  with  domestic  deals,  the  foreign  agree- 
ment usually  begins  with  a  brief  descrip- 
tion of  the  film  or  program,  including 
the  title,  genre,  running  time,  and  sub- 
jects. A  filmmaker  could  enter  into  sepa- 


rate licensing  deals  territory  by  territory, 
in  for  example,  Germany,  Portugal,  or 
Spain.  A  clause  for  every  territory  could 
read  like  this:  "  Territory:  The  territory 
shall  consist  of  the  World"  or  "Territory: 
The  territory  shall  consist  of  the  Universe." 
However,  a  foreign  market  clause  would 
define  the  market  by  country  and/or  lan- 
guages spoken.  For  example: 

Germany,  and  any  and  all  German- 
speaking  territories  including  without 
limitations  Austria,  Belgium,  and 
Switzerland. 

or 

Portugal  and  any  and  all  Portuguese- 
speaking  territories. 

Not  only  would  this  cover  Portugal, 
but  Brazil,  Cape  Verde,  and  even  a  few 
Portuguese-speaking  countries  in  Africa 
such  as  Angola.  Given  this  example,  the 
filmmaker  would  have  to  do  a  little 
homework  to  determine  if  these  addi- 
tional territories  outside  of  Portugal  may 
not  be  of  any  consequences  given  the  tar- 
get consumer  for  the  type  of  film  being 
distributed.  Clauses  for  all  media  could 
go  on  for  several  paragraphs  (or  one  very 
long  run-on  sentence),  beginning  like 
this:    "  The   worldwide  [or  universewidej 


52  The  Independent  I  July/August  2005 


rights  herein  granted  shall  include  any  and 
all  media,  whether  now  known  or  hereafter 
discovered  or  devised,  including  without 
limitations  .  .  .  ." 

Although  foreign  licensing  and  distri- 
bution agreements  will  vary  according  to 
markets,  the  following  is  a  review  of  some 
relevant  terms  and  clauses  filmmakers 
should  be  familiar  with: 

Term:  The  agreement  is  measured  in 
years  as  low  as  five  to  seven  years,  and  as 
high  as  25  years.  Years  are  measured  from 
the  date  all  deliverables  are  submitted  to 
the  foreign  company,  not  from  the  date 
the  agreement  is  signed  by  the  filmmaker 
and  the  company. 

Payment  Obligations:  A  foreign  dis- 
tributor or  sales  agent  will  keep  20  per- 
cent to  as  high  as  35  percent  of  "net 
receipts"  of  "gross  receipts"  earned  from 
the  exploitation  of  the  film  or  program. 
Gross  receipts  are  monies  received  by  the 
distributor  or  agent  earned  from  various 
uses  of  the  film.  Various  "deductions"  are 
made  before  giving  the  filmmaker  his  or 
her  percentage  (if  any  money  is  left  after 
the  deductions).  These  deductions 
depend  on  the  territory  and  media  rights 
granted,  but  generally  include  laboratory 
and  duplication  costs,  marketing  and 
advertising,  securing  regional  licenses, 
currency  conversion,  wire  transfer  and 
bank  costs,  shipping  charges,  insurance 
costs,  foreign  duties  and  taxes,  translation 
and  subtitle  costs,  and  even  general  oper- 
ating and  overhead  costs.  Payments  to 
the  filmmaker  can  be  made  via  wire 
transfer,  or  a  letter  of  credit  payable  to  the 
filmmaker  upon  presenting  it  the  film- 
maker's bank. 

Release  Requirements:  To  ensure  that 
the  film  or  program  does  not  get 
"shelved,"  the  agreement  should  have  a 
release  or  air  date  commitment.  If  there  is 
to  be  a  theatrical  release  throughout  the 
territory  it  should  stipulate  how  soon 
after  the  deliverables  are  submitted,  and 
the  number  of  cities  and  theaters.  There 
should  be  a  minimum  advertising  com- 
mitment in  US  dollars.  These  require- 
ments can  apply  to  video/ DVD  and  to 
the   television    broadcast   of  a   program 


with  advance  notification  of  the  time  and 
place  of  each  telecast. 

Cutting/Dubbing         Rights  & 

Censorship  Clearances:  To  ensure  that 
the  film  meets  local  censorship  laws,  and 
naturally  if  the  film  is  in  English,  distrib- 
utors will  usually  reserve  the  right  to  dub 
or  subtitle  as  well  as  edit  certain  elements 
out  of  the  film.  The  agreement  should 
specify  whether  such  decisions  are  subject 
to  the  filmmakers  approval  for  creative 
purposes.  Additionally,  the  agreement 
should  stipulate  that  the  filmmaker  will 
own  all  dubbed  and  subtitled  versions  of 
the  film. 

Deliverables:  In  light  of  the  fact  that 
the  term  of  the  agreement  and  release  of 
the  film  or  broadcast  of  the  program  is 
contingent  upon  delivering  certain  items, 
the  filmmaker  should  clearly  stipulate 
and  verify  what  those  items  and  require- 
ments are  (format,  licensing,  etc.),  and 
should  request  a  signed  acknowledgment 
from  the  company  that  the  items  have 
been  submitted  by  a  specified  date. 
Additionally,  filmmakers  should  try  and 
retain  possession  of  prints,  masters,  and 
any  original  materials  such  as  releases  and 
agreements.  In  the  event  of  a  dispute  or 
bankruptcy,  regaining  possession  of  these 
deliverables  can  prove  even  more  difficult 
in  a  foreign  country. 

Accounting  and  Audit  Rights: 
Filmmakers  should  request  a  detailed 
itemization  of  all  distribution  expenses 
and  costs.  Under  most  agreements, 
domestic  and  foreign,  the  filmmaker  may 
be  deemed  to  have  consented  to  the  accu- 
racy of  statements  unless  he  or  she  objects 
or  initiates  legal  action  within  a  year  or 
two  of  receipt  of  each  statement. 
Additionally,  costs  of  arranging  for  audit- 
ing or  inspection  of  books  in  another 
country  can  be  higher,  unless  the  distrib- 
utor has  offices  in  the  United  States.  The 
agreement  should  provide  that  in  the 
event  an  audit  discloses  that  the  film- 
maker has  been  underpaid  a  certain 
amount  ($1,000  or  5  percent,  for  exam- 
ple), the  distributor  is  obligated  to  reim- 
burse the  filmmakers  auditing  costs. 

Rights  Reserved:  If  the  filmmaker 
decides  to  split  the  rights,  each  agreement 


should  stipulate  what  rights  are  reserved 
by  the  filmmaker,  such  as  ancillary, 
subsidiary,  and  allied  rights  including 
dramatic  (play),  remake,  sequel,  prequel, 
television  spin-off,  radio,  electronic 
publishing,  licensing  and  merchandising, 
music  publishing,  soundtrack  recording, 
comic  books,  video  games,  and  print  and 
literary  publishing  (such  as  novelizations, 
publication  of  screenplays  and/or  treat- 
ments, behind-the-scenes/making-of 
books),  and  any  and  all  rights  not  specif- 
ically stipulated  in  the  agreement. 

Jurisdiction:  The  Governing  Law  pro- 
vision of  any  agreement  identifies  which 
country  or  states  law  will  be  applied 
when  interpreting  and  enforcing  the 
agreement.  US  law  and  jurisdiction 
should  govern.  Some  states  such  as 
California  and  New  York,  have  estab- 
lished laws  with  precedence  concerning 
film  and  media  law  issues,  including 
international  disputes.  Additionally, 
agreeing  to  US  jurisdiction  will  avoid 
extra  expenses  associated  with  traveling 
and  hiring  local  counsel  familiar  with  the 
film  industry. 

Given  the  right  set  of  circumstances,  a 
foreign  distribution  or  licensing  deal  can 
generate  income  for  and  enhance  the 
career  of  a  filmmaker  in  certain  markets. 
Although  granting  partial  rights  to  multi- 
ple distributors  can  increase  the  possibil- 
ity of  generating  revenues,  if  not  man- 
aged carefully  granting  rights  in  one 
country  (or  several  countries)  could  con- 
flict or  violate  rights  granted  to  a  distrib- 
utor or  programmer  in  another  country. 

In  addition  to  producing  a  great  film, 
filmmakers  should  research  the  reputa- 
tion, experience,  and  credits  of  foreign 
distributors  and  agents  before  signing. 
Without  direct  or  backdoor  access  to 
programming  or  development  executives, 
attending  festivals  and  markets  remains 
the  most  productive  and  effective  way  a 
for  filmmaker  to  sell  a  film  or  program. 
All  filmmakers  want  their  films  seen  by 
the  widest  possible  audience.  To  protect 
your  interests,  though,  it  helps  to  under- 
stand that  the  art  of  the  distribution  deal 
isn't  necessarily  just  about  art.    ~k 


July/August  2005  I  The  Independent  53 


POLICY 


? 


No  Warning,  No  Cry: 

Public  broadcasting  takes  a  turn  for  the  Right 


By  Matt  Dunne 


0 


ver  a  year  ago,  I  wrote  about  how 
little-noticed  changes  at  the 
Corporation  for  Public  Broad- 
casting could  be  warning  signs  that  the 
administration  was  looking  to  use  the  enti- 
ty that  funds  public  television  and  radio  to 
advance  a  political  agenda.  But  if  there  ever 
were  a  subtlety  to  the  CPB's  actions,  it's  all 
but  disappeared.  Traditionally  viewed  as  a 
model  of  political  independence,  CPB  is 
conjuring  up  images  of  Joe  McCarthy  and 
George  Orwell's  1984. 

The  Corporation  for  Public 
Broadcasting  is  the  federally  chartered  enti- 
ty created  by  Congress  to  provide  funding 
to  public  media  including  PBS  and  NPR. 
The  CPB  is  charged  with  helping  to  ensure 
that  programming  has  "objectivity  and 
balance".  However,  responding  to  fears 
that  public  broadcasting  would  become 
government  propaganda  machines,  the 
Public  Broadcasting  Act  of  1967  explicitly 
prohibited  the  CPB  from  using  this  fund- 
ing to  produce,  schedule,  or  disseminate 
programming.  CPB  itself  is  structured  to 
reduce  the  risk  of  becoming  an  instrument 
to  advance  political  agendas.  Board  mem- 
bership is  based  on  terms,  and  the  CPB  is 
required  to  have  balanced  parry  representa- 
tion. Congressional  funding  is  made  two 
years  in  advance  to  insulate  allocation  deci- 
sions from  political  whims. 

Since  the  Nixon  era,  conservatives  have 
dealt  with  the  CPB  by  trying  to  eliminate 


it.  Under  the  Reagan  administration  and 
then  again  during  the  Gingrich  revolution, 
axing  the  Corporation  was  a  high  priority. 
These  efforts  were  thwarted  only  by  a  pow- 
erful lobbying  campaign  by  the  large  and 
passionate  consumers  of  public  radio  and 
television. 

Things  are  different  now.  Instead  of 
trying  to  eliminate  the  CPB,  this  admin- 
istration wants  to  own  it.  It  fits  perfectly 
with  other  communication  strategies  in 
agencies  ranging  from  the  Environmental 
Protection  Agency  to  the  Department  of 
Agriculture,  beginning  with  blatant 
Madison  Avenue-ization  of  legislation 
such  as  the  Clear  Skies  Initiative.  The 
Department  of  Education  received  criti- 
cism for  expanding  into  the  world  of  new 
media  by  hiring  influential  bloggers  and 
newspaper  columnists  to  offer  positive 
spin  on  the  controversial  No  Child  Left 
Behind  program.  More  recently,  it  has 
come  to  light  that  taxpayer  dollars  have 
funded  high  quality  film  and  radio  clips 
formatted  to  look  exactly  like  newscasts 
which  have  been  distributed  to  television 
and  radio  stations  all  over  the  country. 
Many  of  these  pro-administration  spots 
have  been  broadcast  in  their  entirety,  with 
no  disclosure  of  their  source. 

While  some  have  argued  that  this  is  the 
natural  extension  of  political  spin  efforts  by 
whomever  is  in  the  White  House,  politi- 
cizing the  CPB  was  something  previously 


seen  as  off  limits.  The  fear  of  a  Soviet-style, 
government-controlled  national  media  has 
dissuaded  past  administrations  from  overt- 
ly pursuing  political  ends  through  this 
quasi-governmental  entity.  Not  anymore. 

Over  the  last  year  and  a  half,  efforts  have 
been  made  to  clearly  influence  the  content 
of  public  television.  Unabashedly  honest 
about  its  desire  to  change  what  appears  on 
the  airwaves,  the  Bush  administration 
appointed  top  GOP  fundraisers  Cheryl 
Halpern  and  Gay  Hart  Gaines  (the  former 
Chairwoman  of  Gingrich's  GOPAC)  to 
the  CPB  board.  Despite  numerous  inde- 
pendent studies  demonstrating  that  PBS 
content  is  seen  as  balanced  and  objective 
(including  a  2005  Roper  Public  Affairs  & 
Media  analysis),  the  new  appointees  were 
clear  in  their  confirmation  testimony  that 
they  wanted  to  correct  the  "liberal  bias"  of 
public  television.  This  new  conservative 
board  majority  gave  Chairman  Kenneth 
Tomlinson,  a  former  editor-in-chief  of 
Reader's  Digest  and  a  member  of  the 
Reagan  administration,  an  implied  man- 
date to  engage  in  the  discussion  of  content 
with  PBS. 

Tomlinson  wasted  no  time.  "The 
Tucker  Carlson  Show,"  launched  last  sum- 
mer as  an  effort  to  "balance"  the  other 
journalism  programs  offered  on  PBS,  was 
joined  by  a  new  show  featuring  the  conser- 
vative editorial  page  editor  of  the  Wall 
Street  Journal  Paul  Gigot.  Tomlinson  not 


54  The  Independent  I  July/August  2005 


only  advocated  for  this  latest  offering,  but 
he  personally  pursued  the  necessary  corpo- 
rate sponsorship. 

Unphased  by  concern  expressed  about 
the  CPB  taking  a  role  in  dictating  PBS 
programming,  Tomlinson  said  in  a  May 
interview  with  "On  The  Media's  Bob 
Garfield,  "I  want  to  make  sure  that  when 
you  have  some  programs  that  tilt  left,  we 
also  have  some  programs  that  tilt  right  so 
the  viewer  can  make  up  his  or  her  own 
mind."  Clearly  the  separation  of  funding 
and  programming  are  not  at  all  a  concern 
of  the  chairman. 

Now  comes  the  creepy  part.  According 
to  a  New  York  Times  story  on  May  2,  last 
year  Tomlinson  hired  a  consultant  to 
review  the  content  of  Bill  Moyers's  show 
"Now,"  organizing  Moyers's  guests  under 
headings  such  as  "Anti-business,"  "Anti- 
Bush,"  and  "Anti-Tom  Delay"  Then  in 
March,  he  hired  White  House  press  opera- 
tive Mary  Catherine  Andrews  to  put 
together  an  ombudsman's  office  to  conduct 
ongoing  "bias"  evaluation  of  the  content  of 
both  NPR  and  PBS  programs. 

Then,  with  no  warning  and  late  on  a 
Friday  evening  in  April,  the  CPB 
announced  that  its  president,  Kathleen 
Cox  would  be  replaced  after  only  10 
months  on  the  job.  Cox  had  been  her- 
alded as  a  non-polarizing  leader  who  had 
risen  through  CPB  ranks  before  assuming 
the  top  post.  The  abrupt  move  brought  an 
uncharacteristically  terse  response  from 
PBS  President  Pat  Mitchell,  who  stated 
that  she  was  completely  surprised  by  the 
announcement.  Beyond  comments 
expressing  deep  regret  in  the  press  state- 
ment, Mitchell  wrote  that  Cox  "recog- 
nized the  need  for  CPB  to  remain  a  strong 
heat  shield  to  protect  public  media  from 
political  pressure."  It  doesn't  take  a  lot  of 
interpretation  to  read  from  this  statement 
that  without  Cox  in  that  position,  the 
heat  shield  is  gone. 

The  question  on  everyone's  mind  was: 
Who  would  Tomlinson  pick  to  replace 
Cox?  The  answer:  Patricia  Harrison,  for- 
mer co-chairwoman  of  the  Republican 
National  Committee. 

Beyond  the  obviously  outrageous  polit- 
ical takeover  of  the  CPB  in  an  effort  to 
drive  public  television  content  to  the 
right,  the  frightening  part  is  that  no  one  is 


blushing.  Tomlinson  seems  genuinely 
shocked  to  hear  that  anyone  has  a  prob- 
lem with  his  actions.  It  used  to  be  fun  to 
be  a  conspiracy  theorist,  but  now  the  con- 
spiracy is  right  out  in  the  open.  The  cur- 
rent administration  appears  to  see  no 
problem  whatsoever  in  eliminating  the 
founding  principles  of  the  CPB,  princi- 
ples that  kept  public  television  and  radio 
separate  from  politics. 

Then  there's  the  question  of  the  CPB's 
funding.  You  would  usually  anticipate 
reductions  for  public  television  during  a 
Republican  controlled  Congress  and 
administration,  but  instead  the  funding 
levels  have  actually  increased  since  2000. 
Most  of  us  in  the  progressive  media 
community  would  see  this  as  a  positive 
step,  unless  of  course  the  additional 
resources  are  simply  used  to  finance  con- 
servative, politically  motivated  content 
easily  found  on  conservative  cable  chan- 
nels. One  could  even  see  the  increase  in 
funding  as  an  important  strategy  in  the 
effort  to  finish  blanketing  the  airwaves 
with  right-leaning  news  programs  since  a 
disproportionate  number  of  PBS  viewers 
are  those  who  do  not  have  access  to  cable 
and  the  Fox  News  Network. 

The  administration's  2006  budget  pro- 
poses to  cut  nearly  everything  non-mili- 
tary, including  CPB.  Yet,  even  this 
decision  appears  to  be  part  of  a  broader 
political  strategy.  When  asked  about 
potential  funding  cuts  in  the  "On  the 
Media"  interview,  Tomlinson  responded, 
"I  just  think  that  my  course  of  action,  in 
conjunction  with  common  sense,  will 
encourage  greater  support  for  public 
broadcasting."  Read:  Do  it  my  way,  PBS 
affiliates,  and  you  won't  lose  your  money. 

The  actions  at  the  CPB,  along  with  the 
other  strategies  engaged  by  this  adminis- 
tration, reveal  an  alarming  pattern  of 
using  public  resources  to  advance  conser- 
vative ideology  through  the  media. 
Democratic  members  of  Congress  have 
called  for  an  investigation  of  abuse  of  the 
Public  Broadcasting  Act  of  1967,  but 
there  must  be  clear  and  loud  opposition 
beyond  the  media-watch  community  to 
stop  this  moving  train.  Outrage  must  be 
heard,  and  calls  to  action  must  be  taken 
now  before  the  best  solution  is  to  not  have 
a  CPB  at  all.  • 


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DOMESTIC 

AFRICAN  DIASPORA  FILM  FESTIVAL,  Nov   25  - 

Dec.  11,  NY.  Deadline:  June  30  (docs, 
shorts);  Aug.  31  (features).  Noncompetitive 
fest  presents  films  that  depict  human  experi- 
ence of  people  of  color  all  over  the  world. 
Founded:  1993.  Cats:  feature,  short,  doc. 
Awards:  Public  Award  for  a  film  directed  by  a 
woman  of  color.  Formats:  16mm,  35mm, 
Beta  SP.  Preview  on  VHS.  Entry  Fee:  None. 
Contact:  Festival;  (212)  864-1760;  fax:  316- 
6020;  info@nyadff.org;  www.nyadff.org. 

ALAMEDA  INTL  FILM  FESTIVAL,  Nov  11-13, 
CA.  Deadline:  Apr.  30;  June  30;  Aug.  30 
(final).  The  fest  seeks  narrative,  documen- 
tary, &  animated  works  (30  min.  or  shorter) 
completed  after  December  31 .  Exhibition  & 
preview  on  VHS  (NTSC)  &  DVD.  Entry  fee: 
$15-$25.  (510)  740-0220,  ext.  114;  fax 
(51 0)749-751 7;  info@alamedafilmfest.com; 
www.alamedafilmfest.com.  Cats:  short,  any 
style  or  genre.  Preview  on  VHS  (NTSC)  & 
DVD.  Entry  Fee:  $15  to  $20.  Contact 
Festival;  (510)  740-0220,  ext.  114;  fax 
(510)  749-7517;  info@alamedafilmfest.com 
www.alamedafilmfest.com. 

ANNAPOLIS  FILM  FESTIVAL,  Nov  11-14,  MD 
Deadline:  June  3;  June  24;  July  8  (final).  A 
four-day  fest  showcasing  independent  films 
&  documentaries  produced  by  local  &  nat'l 
filmmakers.  Its  mission  is  to  "celebrate  the 
capacity  of  independent  film  to  move  us, 
teach  us  &  entertain  us."  Cats:  feature,  doc, 
short,  animation.  Formats:  35mm,  Beta  SP, 
DV,  DVD.   Preview  on  VHS  or  DVD.   Entry 


Fee:  $25-$50.  Contact:  Festival;  (410)  263- 
2388;  fax:  263-2629;  info@annapolisfilmfesti 
val.com;  www.annapolisfilmfestival.com. 

ASHEVILLE  FILM  FESTIVAL,  Nov  27-30,  NC 
Deadline:  July  23.  Cats:  feature,  doc,  short, 
student.  Formats:  35mm,  DVD.  Preview  on 
VHS  (NTSC).  Entry  Fee:  $30;  $20  (student). 
Contact:  City  of  Asheville  Parks  & 
Recreation;  (828)  259-5800;  fax:  259-5606; 
mporter@ashevillenc.gov;  www.  asheville 
filmfestival.com. 

ASPEN  FILMFEST,  Sept  28-Oct.  2,  CO 
Deadline:  July  8.  Founded:  1979.  Cats:  fea- 
ture, doc,  family,  children,  animation. 
Awards:  Non-Competitive.  Formats:  16mm, 
35mm,  Beta  SP,  U-matic,  DigiBeta.  Preview 
on  VHS  (NTSC  or  PAL)  or  DVD.  Entry  Fee 
$35.  Contact:  Laura  Thielen;  (970)  925-6882 
fax:  925-1967;  filmfest@aspenfilm.org 
www.aspenfilm.org. 

AUSTIN  FILM  FESTIVAL,  Oct.  20-27,  TX 
Deadline:  June  1 5;  July  1 5  (final).  Fest  is  ded- 
icated to  the  writer  as  the  heart  of  the  cre- 
ative process  of  filmmaking  &  uncovers  out- 
standing, emerging  writers,  fostering  their 
development  through  panels,  workshops  & 
master  classes  conducted  by  professionals. 
Founded:  1994.  Cats:  feature,  short,  student, 
script.  Formats:  35mm,  16mm,  DigiBeta, 
Beta  SP.  Preview  on  VHS  or  DVD.  Entry  Fee: 
$40;  $50  (final).  Contact:  Lisa  Albracht;  (800) 
310-FEST/  (512)  478-4795;  fax:  478-6205; 
film@austmfilmfestival.com;  www.austin 
filmfestival.com. 


BARE  BONES  SCRIPT-2-SCREEN  FILM  FESTIVAL, 

October  13-16,  OK.  Deadline:  July  15,  Aug. 
31  (final).  Cats:  script.  Formats:  Screenplays 
only.  Entry  Fee:  $30  (30  Pgs 
or  less);  $40  (31-59  pgs);  $50  (60  pgs 
or  more).  Contact:  Festival;  (918)  391-1313; 
scnpt2screenfest@yahoo.com;  www.scnpt2 
screenfilmfestival.com. 

BEARDED  CHILD  UNDERGROUND  FILM  FESTIVAL, 

August  6-7,  MN.  Deadline:  July  15. 
Unconventional  fest  seeks  to  bring  unusual 
cinema  to  Northern  Minnesota;  "weird  & 
obscure  works  are  heavily  encouraged,  how- 
ever personal  &  experimental  films  also  do 
well".  Cross-country  tour  will  follow  the  fest. 
Cats:  any  style  or  genre.  Formats:  1/2", 
16mm,  DVD,  super  8,  Mini-DV.  Preview  on 
VHS.  Entry  Fee:  $10  per  20  mm.  Contact: 
Dan  Anderson;  bcfilmfest@gmail.com; 
www.beardedchild.com. 

BERKELEY  VIDEO  &  FILM  FESTIVAL,  Nov.,  CA 
Deadline:  July  10.  Film  fest  seeks  work  from 
independent  producers  completed  in  the 
past  two  years.  Past  entries  are  ineligible. 
Cats:  doc,  feature,  short,  experimental,  ani- 
mation, music  video,  commercials/psa,  stu- 
dent, youth  media.  Formats:  super  8,  8mm, 
16mm,  35mm,  70mm,  1/2",  3/4",  Beta  SP, 
S-VHS,  Most  digital  formats.  Preview  in  VHS 
or  Beta  SP.  Entry  Fee:  $30-$40.  Contact: 
Festival;  (510)  843-3699;  fax:  843-3379; 
maketv@aol.com;  www.berkeleyvideofilm 
fest.org. 

BETHEL  FILM  FESTIVAL,  Oct  25-30,  NY 
Deadline:  May  31;  July  15  (final).  Cats:  fea- 


56  The  Independent  I  July/August  2005 


ture,  doc,  short,  student,  animation.  Awards: 
Cash  &  In-kind  prizes.  Formats:  35mm, 
16mm,  Beta  SP,  HD,  DV  Cam.  Preview 
on  VHS  or  DVD.  Entry  Fee:  $20-$60.  Contact: 
Carol  Spiegel;  (203)  790-4321;  email 
info@bethelfilmfestival.com;  www.bethelfilm 
festival.com. 

BIG  APPLE  FILM  FESTIVAL,    Nov    17-19,    NY 

Deadline:  June  30;  Sept.  1;  Sept.  15  (final). 
Fest  takes  place  at  the  Anthology  Film 
Archives  in  NYC.  Festival  will  incl.  special 
screenings,  networking  events,  screenplay 
competition,  awards  ceremony  &  special 
guests.  Founded:  2004.  Cats:  any  style  or 
genre.  Formats:  35mm,  16mm,  Beta  SP, 
Mini-DV,  DVCAM,  DVD,  1/2".  Preview 
on  VHS  or  DVD.  Entry  Fee:  $45-$60.  Contact: 
Festival;  info@bigapplefilmfestival.com; 
www.bigapplefilmfestival.com. 

BIG  SKY  DOC  FILM  FESTIVAL,  Feb    16-22,  MT 

Deadline:  Sept.  1,  Nov.  1  (final).  Held  at  the 
restored  Roxy  Theater  in  downtown 
Missoula,  Montana.  The  competitive  event  is 
open  to  non-fiction  films  &  videos  of  all 
styles,  genres,  &  lengths.  Official  selections 
w/  production  dates  prior  to  January  1  of 
previous  yr.  are  eligible  for  entry  but  will 
screen  out  of  competition.  Cats:  doc. 
Formats:  35mm,  16mm,  DVD,  Beta  SP,  Mini- 
DV,  DVCam.  preview  on  VHS  or  DVD.  Entry 
Fee:  $20  (shorts);  $30  (features).  Contact: 
Doug  Hawes-Davis;  (406)  728-0753; 
bigsky@highplains.org;  www.bigskyfilm 
fest.org. 

CHICAGO  INT'L  FILM  FESTIVAL,  October  6-20, 
IL.  Deadline:  July  25.  Annual  event  is  the  old- 
est competitive  int'l  film  fest  in  N.  America 
spotlighting  the  latest  work  in  intil  &  inde- 
pendent cinema  by  featuring  both  estab- 
lished intil  directors  &  new  directors.  Cats: 
feature,  short,  doc,  student.  Formats:  16mm, 
35mm,  70mm,  3/4",  1/2",  DigiBeta. 
Preview/Judging  formats  on  1/2"  VHS 
(NTSC,  PAL  or  SECAM);  Film  (16mm  or 
35mm);  or  DVD  (Region  0  or  1).  Entry  Fee: 
$100  (feature);  $80  (doc  feature);  $40  (short 
under  30  mm.);  $50  (short  30-60  mm.);  $30 
(student).  Late  fees:  $20-$100.  Contact: 
Cinema/Chicago;  (312)  425-9400;  fax:  (312) 
425-0944;  info@chicagofilmfestival.com; 
www.chicagofilmfestival.com. 


DANCE  ON  CAMERA  FESTIVAL,  Jan  4-7;  13-14, 
NY  Deadline:  Sept.  15.  This  touring  fest  is 
the  oldest  annual  int'l  dance  film/video  event 
in  the  world.  Cats:  Experimental,  Feature, 
Short,  doc,  animation.  Formats:  35mm, 
Beta  SP,  Mini-DV,  DVD.  Preview  on  VHS. 
Entry  Fee:  $35.  Contact:  Dance  Films 
Association,  Inc.;  (212)  727-0764;  fax:  (212) 
727-0764;  dfa5@earthlink.net;  www.dance 
filmsassn.org. 

DENVER  INT'L  EXPERIMENTAL  FILM  FESTIVAL, 

Oct.  8-15,  CO.  Deadline:  Sept.  1.  Fest 
accepting  experimental  works  of  all  lengths 
&  genres  produced  anytime  in  the  last  100 
years.  Cats:  experimental,  animation,  short, 
doc,  feature.  Formats:  16mm,  super  8,  DV,  S- 
VHS,  VHS,  1/2".  Preview  on  VHS.  Entry  Fee: 
$10.  Contact:  Richard  Sanchez,  director; 
(720)  220-8916;  DIEFilmFestival@aol.com; 
www.expenmentalfilmchannel.com. 

DETROIT  DOCS  INT'L  FILM  FESTIVAL,  Nov   2-6, 

Ml.  Deadline:  July  30;  Aug.  15  (final).  Annual 
fest  created  to  showcase  the  best  in  nonac- 
tion &  documentary  film.  Special  emphasis  is 
given  to  works  w/  original  & 
creative  modes  of  storytelling.  Founded: 
2002.  Cats:  doc,  any  style  or  genre.  Preview 
on  VHS  or  DVD.  Entry  Fee:  $20;  $40  (final). 
Contact:  Festival;  (313)  417-9784; 
mfo@detroitdocs.org;  www.detroitdocs.org. 

DUMBO  SHORT  FILM  &  VIDEO  FESTIVAL,   Oct 

14-16,  NY  Deadline:  June  1;  Aug.  1  (final). 
Film  &  video  event  is  part  of  the  annual 
D.U.M.B.O.  Art  Under  the  Bridge  Festival  & 
is  designed  to  showcase  the  work  of  inde- 
pendent &  experimental  film  &  videomakers 
living  in  NYCis  five  boroughs.  Works  must  be 
30  min.  or  less.  Founded:  1996.  Cats:  short, 
any  style  or  genre.  Formats:  16mm,  1/2", 
Mini-DV,  DVD,  Beta  SP.  Preview  on  VHS. 
Entry  Fee:  $15;  $25  (final).  Contact: 
D.U.M.B.O.  Arts  Center;  (718)  694-0831; 
mail@dumboartscenter.org;  www. dumb 
oartscenter.org. 

FORREST  J  ACKERMAN   FILM   FAN  AWARDS, 

Nov.  11-13,  NY.  Deadline:  Sept.  1.  Awards 
will  be  handed  out  at  a  banquet  during 
Astronomicon,  Rochester's  science  fiction  & 
fantasy  convention  in  Rochester  New  York. 
Awards  for  creators  of  fan  films.  Seeking 
works  by  filmmakers  who  are  fans  of  their 


subject  matter  &  making  their  own  versions 
of  movies  &  television  shows  like  Aliens,  The 
Matrix,  Indiana  Jones,  &  the  X-Men.  Cats: 
feature,  doc,  short.  Formats:  1/2",  S-VHS, 
DVD.  Preview  on  VHS  or  DVD.  Contact: 
The  Rochester  Fantasy  Fans;  Fanfilms@astro 
nomicon.info;  www.astronomicon.info 

/Fanf  ilmawards.html. 

FRESNO  REEL  PRIDE  INT'L  GAY  &  LESBIAN  FILM 
FESTIVAL,  Sept.  14-18,  CA.  Deadline:  July  31. 
Founded:  1990.  Cats:  short,  feature,  doc. 
Formats:  35mm,  Beta  SP,  DV  Cam,  1/2". 
Preview  on  VHS  (NTSC)  or  DVD.  Entry  Fee: 
None.  Contact:  Stephen  Mintz,  Program 
Director;  (559)  360-9515;  fax:  443-0700; 
Mmtzworks@aol.com;  www.reelpride.com. 

HP.  LOVECRAFT  FILM  FESTIVAL,  Oct    7  9,  OR 

Deadline:  Aug.  1 .  Purpose  of  fest  is  to  "pro- 
mote the  works  of  H.  P.  Lovecraft  through 
cinematic  adaptations  by  student,  amateur  & 
professional  filmmakers."  Submissions 
should  deal  w/  supernatural  &  cosmic  horror. 
Founded:  1996.  Cats:  feature,  doc,  short, 
animation,  music  video.  Awards:  Best  of 
show;  best  short;  best  animation;  best 
feature.  Formats:  DV,  16mm,  35mm,  S-VHS, 
DVD,  Mini-DV.  Preview  on  VHS  (NTSC) 
or  DVD.  Entry  Fee:  $10.  Contact:  Festival; 
(503)  282-3155;  mfo@hplfilmfestival.com; 
www.hplfilmfestival.com. 

HOPE  &  DREAMS  FILM  FESTIVAL,  October  7-9, 
NJ.  Deadline:  July  28.  Themes  which 
emphasize  issues  of  hope  &  dreams  will  be 
given  additional  consideration.  First  time 
directors  are  encourged  to  submit.  Founded: 
1998.  Cats:  feature,  doc,  short,  animation, 
any  style  or  genre.  Awards:  Cash  awards  & 
prizes.  Formats:  35mm,  16mm,  3/4",  S-VHS, 
Beta  SP,  super  8,  Hi8,  DV.  Preview  on  VHS. 
Entry  Fee:  $40.  Contact:  Festival;  fax:  (908) 
459-4681 ;  hopeanddreams@earthlink.net; 
www.hopeanddreams.com. 

LONG  ISLAND  GAY  &  LESBIAN  FILM  FESTIVAL, 

November  11-17,  NY.  Deadline:  July  1;  Aug. 
15  (final).  Entry  Fee:  $15;  $25  (final). 
Contact:  Stephen  Flynn;  (631)  547-6650;  fax: 
547-6651;  info@liglff.org;  www.liglff.org. 

MANHATTAN  SHORT  FILM  FESTIVAL,  Sept  16- 
25,  NY.  Deadline:  June  30  (scripts);  July  31. 
Once  a  yr.  thousands  of  New  Yorkers  gather 


July/August  2005  I  The  Independent  57 


inside  Union  Square  Park  to  watch  short 
films.  The  fest  will  screen  in  over  30  Founded: 
1998.  Cats:  short,  any  style  or  genre,  script. 
Formats:  DigiBeta.  Preview  on  VHS 
(NTSC/PAL).  Entry  Fee:  $35;  $25  (scripts). 
Contact:  Nicholas  Mason;  (201)  969-8049; 
info@msfilmfest.com;  www.msfilm  fest.com. 

MELBOURNE  INDEPENDENT  FILMMAKERS 
FESTIVAL,  Nov.  10-12,  FL.  Deadline:  Aug.  4. 
Fest  is  aimed  at  promoting  independent  film- 
makers &  local  interest  in  independent  film. 
All  funds  raised  go  to  charities.  Unconditional 
Love,  Inc.,  a  local  HIV  treatment  center  & 
The  Yellow  Umbrella  which  helps  the  victim's 
of  child  abuse.  Cats:  feature,  doc,  short,  ani- 
mation. Preview  on  VHS  (NTSC)  &  DVD. 
Entry  Fee:  None.  Contact:  Terry  Cronin, 
program  chairman;  TCRonin2@aol.com; 
www.3boysproductions.com. 

NEW  HAMPSHIRE  FILM  EXPO,  Oct  14-16,  NH. 
Deadline:  July  1;  Aug.  1  (final).  This  is  the 
state's  largest  film  event,  incl.:  independent 
&  student  film  screenings,  tradeshow,  young 
filmmaker's  workshops  &  others.  Cats:  fea- 
ture, doc,  short,  animation,  student,  any 
style  or  genre,  script.  Formats:  Beta  SP 
DVD,  Mini-DV,  VHS-NTSC,  1/2".  Preview  on 
VHS,  Mini-DV  or  DVD.  Entry  Fee:  $20-$45. 
Contact:  NHFX;  (603)  647-NHFX  (6439); 
info@nhfx.com;  www.nhfx.com. 

NEW  YORK  FILM  FESTIVAL,  Sept  23-Oct  9, 
NY.  Deadline:  July  16.  The  New  York  Film 
Works  can  originally  be  shot  on  video  or  film, 
but  you  must  have  a  16mm  or  35mm  print 
for  actual  fest  exhibition.  Founded:  1962. 
Cats:  feature,  doc,  short,  experimental,  ani- 
mation, student,  any  style  or  genre.  Formats: 
35mm,  16mm.  Preview  on  VHS,  DVD  or 
Print.  Entry  Fee:  None.  Contact:  Sara 
Bensman;  (212)  875-5638;  fax:  875-5636; 
festival@filmlinc.com;  www.filmlinc.com. 

PALM  BEACH  JEWISH  FILM  FESTIVAL,  Dec  1-11, 
FL.  Deadline:  March  1  (early),  Aug.  20(final). 
This  fest  aims  to  "speak  to  the  world-wide 
Jewish  experience."  Cats:  "Jewish  films,"  any 
style  or  genre.  Preview  on  VHS.  Contact: 
Jewish  Arts  Foundation;  pbjff@kaplanjcc.org; 
palmbeachjewishfilm.org. 

PALM  SPRINGS  INT'L  FILM  FESTIVAL,  Jan  5  16, 

CA.    Deadline:    Sept.    23;   Oct.    14   (final). 


Founded:  1990.  Cats:  feature,  doc.  Formats: 
35mm,  16mm,  Beta  SP,  DigiBeta,  DVcam, 
HDcam.  Preview  on  VHS  or  DVD.  Entry  Fee: 
$50;  $75  (final).  Contact:  Darryl  Macdonald; 
(760)  322-2930;  fax:  322-4087;  program 
ming@psfilmfest.org;  www.psfilmfest.org. 

PITTSBURGH  INT'L  LESBIAN  &  GAY  FILM 
FESTIVAL,  October  14-23,  PA.  Deadline:  July 

15.  Festival  has  been  providing  Pittsburgh  & 
the  tri-state  area  w/  ten  days  of  innovative, 
provocative,  entertaining  lesbian,  gay,  bisex- 
ual &  transgendered  films.  Founded:  1985. 
Cats:  feature,  doc,  short,  animation,  youth 
media,  family.  Formats:  35mm,  16mm,  1/2", 
DVD.  Preview  on  VHS  or  DVD.  Entry  Fee: 
None.  Contact:  PILGFF;  (412)  422-6776;  fax: 
same;  films@pilgff.org;  www.pilgff.org. 

PORTLAND  INT'L  SHORT  SHORT  FILM  FESTIVAL, 

Sept.  23-24,  OR.  Deadline:  July  15;  July 
31  (final).  Fest  will  showcase  films  from 
around  the  globe  that  clock  in  at  10  min.  or 
less.  Fest  is  open  to  all  subject  matter  &  pro- 
duction formats.  Founded:  2002.  Cats:  any 
style  or  genre,  short.  Formats:  DVD,  1/2", 
35mm,  16mm.  Preview  on  VHS  (NTSC). 
Entry  Fee:  $20;  $40  (final).  Contact:  Zonker 
Films;  info@zonkerfilms.com;  www.zonker 
films.com. 

PUTNAM  COUNTY  INTERNATIONAL  FILM  AND 
VIDEO  FESTIVAL,  Oct.  1-2,  NY  Deadline:  July 

16.  Festival  is  open  to  Film  &  Video  makers 
worldwide.  Two  days  of  screenings  in  a  huge 
timber-trussed  lodge,  projected  in  XGA  reso- 
lution. Fest  dubs  itself  as  a  "great  place  to 
network  with  other  filmmakers,  visual  artists 
&  musicians."  Fest  also  includes  art  exhibits, 
free  networking/PR  table  and  Q&A  sessions 
with  filmmakers.  Founded:  2001.  Cats:  trail- 
ers, works-m-progress,  feature,  doc,  short, 
any  style  or  genre,  music  video,  animation, 
experimental,  student.  Formats:  DV,  Beta  SP, 
Mini-DV,  DVD,  Betacam,  DVCAM.  Preview 
on  VHS.  Entry  Fee:  $25  under  59  mm.;  $35 
over  60  min..  Contact:  Maryann  Arrien, 
Festival  Director;  (845)  528-7420; 
maryann@putnamvalleyarts.com;  www.put 
namvalleyarts.com 

REEL  JEWS  FILM  FESTIVAL,  Nov  7-12,  NY 
Deadline:  July  31.  Spearheaded  by  MAKOR, 
fest  showcases  an  eclectic  mix  of  works 
from  filmmakers  who  are  Jewish  or  explore 


themes  common  to  Jews.  Cats:  feature, 
doc,  short,  Work-in-progress,  any  style  or 
genre.  Entry  Fee:  None.  Contact:  Alexandra 
Siegler,  Director  of  Film  &  Media;  (212)  413- 
8821;  fax:  413-8860;  ASiegler@92y.org; 
www.makor.org. 

REELING:  CHICAGO  LESBIAN  &  GAY  INT'L  FILM 
FESTIVAL,  Nov.  3-10,  IL.  Deadline:  July  1;  July 
15.  All  genres  &  lengths  accepted.  Founded: 
1981.  Cats:  Any  style  or  genre,  Feature, 
Experimental,  Animation,  Short,  doc. 
Formats:  35mm,  16mm,  Beta  SP,  DVD,  1/2", 
Mini-DV  Preview  on  VHS.  Entry 
Fee:  $15-$25.  Contact:  c/o  Chicago 
Filmmakers;  (773)  293-1447;  fax:  (773) 
293-0575;  reeling@chicagofilmmakers.org; 
www.chicagofilmmakers.org. 

REHOBOTH  BEACH  INDEPENDENT  FILM 
FESTIVAL,  Nov.  9-13,  DE.  Deadline:  June  19; 
July  15  (final).  Annual  fest  celebrates  inde- 
pendent &  foreign  cinema  in  a  picturesque 
coastal  resort  setting.  No  repeat  entries. 
Founded:  1998.  Cats:  feature,  doc,  anima- 
tion, experimental,  children,  short,  gay  &  les- 
bian, student.  Formats:  35mm,  Beta  SP, 
DVD,  1/2".  Preview  on  VHS  (NTSC,  PAL)  or 
DVD.  Entry  Fee:  $20;  $25  (final).  Contact: 
David  Gold;  (302)  645-9095;  fax:  645-9460; 
sue@rehobothfilm.com;  www.rehoboth 
film.com. 

RIVER'S  EDGE  FILM  FESTIVAL,  Aug  18-21,  KY 
Deadline:  July  15.  Fest  dubs  itself  the 
"fastest-growing  arts  district  in  U.S.A. 
Dedicated  to  bringing  the  world  of  independ- 
ent film  to  a  smart,  arts-minded  river  region. " 
Formats:  DVD,  1/2",  16mm,  35mm,  Mini-DV 
Preview  on  VHS  or  DVD.  Entry  Fee:  $1 5-$35. 
Contact:  Maiden  Alley  Cinema;  (270)  442- 
7723;  info@riversedgefilmfestival.com; 
www.riversedgefilmfestival.com. 

ROUTE  66  FILM  FESTIVAL,  Sept  17-18,  IL 
Deadline:  July  15.  Fest  seeks  works  that 
"involve  some  kind  of  journey"  (physical, 
emotional,  intellectual).  Cats:  feature,  short, 
experimental.  Awards:  Awards  for  judges' 
choice,  best  of  fest,  audience  favorite. 
Formats:  1/2",  DVD.  Preview  on  VHS.  Entry 
Fee:  $20  (features);  $10  (shorts,  under  20 
mm.).  Contact:  Linda  McElroy;  linmcelroy 
©aol.com;  www.route66filmfestival.com. 


58  The  Independent  I  July/August  2005 


SAN  DIEGO  GIRL  FILM  FESTIVAL,  Oct  7-9,  CA. 
Deadline:  June  1;  Aug.  1  (final).  Formats: 
16mm,  35mm,  Mini-DV,  DVD,  Beta  SP. 
Preview  on  VHS  or  DVD.  Entry  Fee:  $25;  $30 
(final).  Contact:  San  Diego  Women  Film 
Festival;  (858)  531-5390;  ReneeHerrell 
©sdgff.org;  www.sdgff.org. 

SCOTTSDALE  INT'L  FILM  FESTIVAL,  Oct  7-11, 
AZ.  Deadline:  Aug.  15.  Feature  length  films 
w/the  goal  of  entertaining,  educating  &  stim- 
ulating new  thoughts  &  ideas.  A  variety  of 
subjects,  themes,  &  messages  are  pro- 
grammed. Founded:  2001.  Cats:  feature, 
doc.  Awards:  Audience  Awards:  Best  film, 
best  actor,  best  actress,  best  screenplay, 
best  director.  Formats:  35mm,  Beta  SP,  DV- 
Cam.  Preview  on  VHS  or  DVD.  Entry  Fee: 
None.  Contact:  Amy  Ettinger;  (602)  410- 
1074;  scottsdalelFF@aol.com;  www.scotts 
dalefilmfestival.com. 

SCREAMFEST  HORROR  FILM  &  SCREENPLAY 
COMPETITION,  October  14-23,  CA.  Deadline: 
July  15;  Aug.  15.  Fest  is  a  mix  of  films, 
sketch  comedy,  &  contests  for  best  costume 
&  loudest  shriek.  Festivities  take  place  at  the 
Vogue  Theatre  in  Hollywood.  Cats:  feature, 
short,  animation,  script.  Entry  Fee:  features 
$40,  shorts  $30  &  screenplays  $35.  Contact: 
Rachel  Belofsky,  festival  producer;  (310)  358- 
3273;  fax:  358-3272;  screamfestla@aol.com; 
www.screamfestla.com. 

SHOCKERFEST,  Sept.  23-25,  CA.  Deadline: 
June  15;  July  15.  Formerly  the  Firelight 
Shock  Film  Festival,  fest  is  genre  specific  to 
the  Horror,  Fantasy  &  Sci-Fi  genres,  accept- 
ing all  lengths  &  styles  of  film  w/in  these 
genres.  All  films  are  prescreened  &  judged 
prior  to  public  exhibition.  Founded:  2002. 
Cats:  feature,  doc,  short,  animation,  experi- 
mental. Formats:  35mm,  DVD.  Preview  on 
VHS  (NTSC).  Entry  Fee:  Short:  $45,  $55 
(late);  Mini-Short:  $35;  Feature:  $55,  $65 
(late).  Contact:  Dr.  George  Baker;  (866)  988- 
2886;  fax:  (209)  531-0233;  director@shocke 
fest.com;  www.shockerfest.com. 

SLAMDANCE  FILM  FESTIVAL,  January  19  27, 
UT.  Deadline:  shorts:  Aug.  29;  Oct.  11  (final); 
features:  Aug.  29;  Oct.  17  (final).  Started  by 
3  filmmakers  in  1995,  fest's  primary  objec- 
tive is  to  present  new  indie  films  by  new 
filmmakers.     Fest     runs     concurrent     w/ 


Sundance  Film  Festival  &  takes  place  in  the 
heart  of  Park  City,  Utah.  Films  showcased 
attract  industry  interest  &  several  have 
received  distrib.  &  agency  rep.  Founded: 
1995.  Cats:  Short,  Doc,  Feature,  Animation, 
Experimental,  Any  style  or  genre.  Awards: 
Formats:  35mm,  16mm,  3/4",  1/2",  Beta  SP, 
DVD,  Web.  Preview  on  VHS.  Entry  Fee:  $25- 
$60.  Contact:  Slamdance;  (323)  466-1786; 
fax:  466-1784;  mail@slamdance.com; 
www.slamdance.com. 

ST.  LOUIS  INT'L  FILM  FESTIVAL,    Nov    10  20, 

MO.  Deadline:  March  1;  July  31  (final). 
Annual  fest  brings  together  American  indies, 
horizon-expanding  int'l  films  &  mainstream 
studio  films  to  audiences  prior  to  commercial 
release.  Cats:  Short,  Doc,  Feature, 
Animation.  Formats:  35mm,  16mm,  Beta  SP. 
Preview  on  VHS.  Entry  Fee:  $50  (features); 
$25  (shorts,  under  45  mm.);  $1 00/$50  (all  late 
films);  discount  though  Withoutabox. 
Contact:  Chris  Clark,  Artistic  Director;  (314) 
454-0042,  ext.  12;  fax:  454-0540;  chris@cine 
mastlouis.org;  www.sliff.org. 

STARZ  DENVER  INT'L  FILM  FESTIVAL,  Nov   1 0- 

20,  CO.  Deadline:  July  15.  Annual  invitational 
expo  of  film  presents  approx.  200  films  over 
1 1  days  &  plays  host  to  more  than  125  film 
artists.  Founded:  1978.  Cats:  feature,  doc, 
animation,  experimental,  children,  short, 
family,  student.  Formats:  35mm,  16mm, 
video.  Preview  on  VHS  (NTSC/PAL)  or  DVD. 
Entry  Fee:  $20  (students);  $35.  Contact: 
Denver  Film  Society;  (303)  595-3456;  fax: 
595-0956;  dfs@denverfilm.org;  www.den 
verfilm.org. 

SUNDANCE  FILM  FESTIVAL,  Jan  20-30,  UT 
Deadline:  Aug.  19  (features/shorts);  Sept.  2 
(Final:  shorts);  Sept.  16  (Final:  features). 
Dramatic  &  doc  entries  for  the  Independent 
Feature  Film  Competition  must  have  50% 
U.S.  financing  &  be  completed  no  earlier 
than  Oct.  of  previous  year.  For  competi- 
tion,entries  must  be  world  premieres. 
Foreign  feature  &  documentary  filmsdess 
than  50%  U.S.  financed)  are  eligible  for  the 
World  Cinema  Competition.  Ind  feature  film 
competition  awards  Grand  Jury  Prize, 
Cinematography  Award  &  Directing  Award 
(popular  ballot).  Other  awards:  in  dramatic 
cat,  Screenwriters  Award;  in  doc  cat, 
Freedom  of  Expression  Award.  All  films  in 


Competition  are  also  eligible  for  Audience 
Awards.  American  films  selected  in  short 
film  cat  are  eligible  for  the  Jury  Prize  in 
American  Short  Filmmaking.  About  135  fea- 
ture-length &  90  short  films  are  selected  for 
each  fest  &  large  audience  of  over  36,000 
incl.  major  distributors,  programmers,  jour- 
nalists, critics  &  agents.  Int'l  press  coverage 
extensive.  Founded:  1985.  Cats:  Feature, 
Short,  Doc.  Formats:  35mm,  16mm,  DV, 
Video.  Preview  on  VHS.  Entry  Fee:  $25/$35 
(shorts);  $35/$50  (features).  Contact: 
Geoffrey  Gilmore/John  Cooper;  (310)  360- 
1981;  fax:  360-1969;  programming@sun 
dance.org;  www.sundance.org. 

TELLURIDE  FILM  FESTIVAL,  Sept  2  5,  CO 
Deadline:  May  1;  July  15  (final).  Annual  fest, 
held  in  a  Colorado  mountain  town,  is  a  Labor 
Day  weekend  celebration  commemorating 
the  art  of  filmmaking:  honoring  the  great 
masters  of  cinema,  discovering  the  rare  & 
unknown,  bringing  new  works  by  the  world's 
greatest  directors  &  the  latest  in  independ- 
ent film.  Cats:  feature,  short,  student,  any 
style  or  genre,  doc,  experimental.  Formats: 
16mm,  35mm,  3/4",  1/2",  S-VHS,  Beta,  Beta 
SP,  DigiBeta,  Hi8,  DV,  DVD.  Preview  on  VHS 
or  DVD.  Entry  Fee:  $35  (19  min.  or  less);  $55 
(20-39  mm);  $75  (40-59  mm.);  $95  (60  mm.  & 
over);  $25  (student  films,  any  length). 
Contact:  Bill  Pence  /  Tom  Luddy;  (603)  433- 
9202;  fax:  433-9206;  mail@telluridefilmfesti 
val.org;  www.telluridefilmfestival.org. 

TEMECULA    VALLEY    INT'L    FILM    FESTIVAL, 

September  14-18,  CA.  Deadline:  July  30. 
Cats:  Feature,  Short,  Student.  Formats: 
35mm,  Beta,  Beta  SP.  Preview  on  VHS  or 
DVD.  Entry  Fee:  $25;  $10  students.  Contact: 
Jo  Moulton;  (909)  699-8681;  fax:  699-5503; 
tviff@earthlmk.net;  www.tviff.com. 

TULSA  OVERGROUND  FILM  FESTIVAL,  Aug    19- 

21,  OK.  Deadline:  July  18.  Designed  to  chal- 
lenge, inspire,  &  showcase  Oklahoma  film- 
makers; emphasizes  the  unique  characters, 
experiences,  &  locations  that  Oklahoma  has 
to  offer.  Works  must  not  be  longer  than  20 
min.  Cats:  feature,  doc,  short,  animation, 
experimental,  any  style  or  genre.  Formats: 
1/2",  Mini-DV,  DVD.  Preview  on  VHS  or  DVD. 
Entry  Fee:  $15.  Contact:  Festival;  (918) 
585-1 223;  tulsaoverground@hotmail.com; 
www.tulsaoverground.com. 


July/August  2005  I  The  Independent  59 


WILUAMSTOWN  FILM  FESTIVAL.  Oct  28-Nov. 
6,  MA.  Deadline:  Aug.  23.  A  non-competi- 
tive, boutique  test  which  showcases  inde- 
pendent features  &  shorts  to  highlight  film  in 
the  Berkshires,  a  part  of  America  celebrated 
for  world-class  theater,  art,  music,  &  dance. 
Founded:  1998.  Cats:  feature,  doc,  short,  ani- 
mation, student.  Formats:  35mm,  16mm, 
S-VHS,  Beta,  super  8,  DVD.  Preview  on  VHS. 
Entry  Fee:  $20-$55.  Contact:  Steve  Lawson; 
(413)  458-9700;  fax:  458-2702; 
contactus@williamstownfilmfest.com; 
www.williamstownfilmfest.com. 

WOMEN  IN  THE  DIRECTORS  CHAIR  INT  L  FILM  & 
VIDEO  FESTIVAL,  March  12-21,  IL.  Deadline: 
Sept.  1,  Oct.  1  (final).  Annual  fest  is  the 
largest  &  longest  running  women's 
film/video  fest  in  U.S.  Founded:  1979.  Cats: 
any  style  or  genre,  installation,  children,  fam- 
ily, TV,  youth  media,  student,  music  video, 
experimental,  animation,  feature,  doc,  short. 
Formats:  3/4",  16mm,  35mm,  Beta,  1/2", 
Beta  SP,  U-matic.  Preview  on  VHS.  Entry 
Fee:  $20  (early,  WIDC  members);  $30  (final). 
Contact:  Festival;  (773)  907-0610;  fax:  (773) 
907-0381;  widc@widc.org;  www.widc.org. 

INTERNATIONAL 

AMIENS  INT'L  FILM  FESTIVAL,  Nov  10-20, 
France.  Deadline:  July  15  (docs);  Aug.  31 
(features/animation).  Works  addressing  iden- 
tity of  a  people  or  a  minority,  racism  or  issues 
of  representation.  In  competition,  entries 
must  have  been  completed  between  Sept. 
or  previous  yr.  &  Oct.  of  yr.  of  edition;  also 
must  be  French  premieres.  Founded:  1980. 
Cats:  Feature,  Short,  doc,  animation,  chil- 
dren. Formats:  35mm,  16mm,  Beta,  Beta  SP 
Preview  on  VHS  or  DVD.  Entry  Fee:  None. 
Contact:  Jean-Pierre  Garcia,  artistic  dir.;  011 
33  3  22  71  35  70;  fax:  92  53  04; 
contact@filmfestamiens.org;  www.filmfes 
tamiens.org. 

ATHENS  INT'L  FILM  FESTIVAL,  Sept  16  25, 
Greece.  Deadline:  July  15.  This  fest's  aim  is 
to  reinforce  the  fest's  character,  as  a  cine- 
matographic celebration,  &  to  promote 
Athens,  as  a  capital  of  young  cinema  lovers, 
where  young  &  restless  cinematography  is 
adored.  Cats:  feature,  doc,  short,  animation. 
Formats:  16mm,  35mm,  Beta  SP.  Preview  on 
VHS.  Entry  Fee:  None.  Contact:  Athens  Int'l 


Film  Festival-  "Opening  Nights";  (011)  30 
210  6061689;  fax:  210  6014137; 
festival@pegasus.gr;  www.aiff.gr. 

BAHIA  INT'L  FILM  FESTIVAL,  Sept  8-15,  Brazil 
Deadline:  June  30  (Competition);  July  15 
(Market).  The  Fest  is  open  to  Ibero-Amencan 
prods  as  well  as  non-lbero-American  prods 
about  Latin  Amer.  subjects.  Program  incl. 
film  &  video  conquest,  retros,  symposia  & 
exhibitions,  expositions.  Market  takes  place 
during  fest;  objective  is  "to  create  an  alter- 
native space  for  commercialization  &  int'l  dis- 
tribution of  exp.  &  ind.  film  &  video  prods." 
Cats:  Any  style  or  genre.  Formats:  35mm, 
16mm,  Beta  SP.  Preview  on  VHS  (max 
length:  60  mm.).  Entry  Fee:  $50.  Contact: 
Universidade  Federal  da  Bahia;  011  55  71 
235  4392;  fax:  55  71  336  1680;  jorn 
ada@ufba.br;  www.jornadabahia.cjb.net. 

BILBAO  INT'L  FESTIVAL  OF  DOC  &  SHORT  FILMS, 

Nov.  29-Dec.  4,  Spain.  Deadline:  Sept.  1. 
Cats:  short  (no  longer  than  45  min.),  doc,  ani- 
mation, experimental.  Formats:  35mm, 
16mm,  Beta  SP,  DV  Preview  on  VHS.  Entry 
Fee:  None.  Contact:  Colon  de  Larreategui; 
011  (34)  94-424-86-98;  fax:  94-424-56-24; 
info@zinebi.com;  www.zinebi.com. 

BITE  THE  MANGO  FILM  FESTIVAL,  September 
23-29,  UK.  Deadline:  Aug.  6.  Presented  by 
the  Nat'l  Museum  of  Photography,  Film  & 
Television,  this  fest  is  Europe's  leading  fest 
for  Black  &  Asian  films.  Films  must  have 
been  completed  after  Jan  1 ,  of  previous  year. 
Cats:  feature,  doc,  experimental,  short. 
Formats:  Beta  SP,  35mm,  16mm,  DVD. 
Preview  on  VHS  (PAL  only)  or  DVD.  Entry 
Fee:  none.  Contact:  Irfan  Ajeeb;  44  1274  203 
311;  irfan.ajeeb@nmsi. ac.uk;  www.bitethe 
mango.org.uk. 

BRADFORD  ANIMATION  FESTIVAL,  November 
16-19,  UK.  Deadline:  July  8.  The  largest  ani- 
mation fest  in  the  UK,  presented  by  the  Nat'l 
Museum  of  Photography,  Film  &  Television. 
At  the  heart  of  the  fest  are  the  BAF!  Awards. 
Founded:  1994.  Cats:  animation,  experimen- 
tal, children,  family,  TV.  Formats:  35mm,  Beta 
SP,  16mm,  DVD.  Preview  on  VHS.  Entry  Fee: 
None.  Contact:  Lisa  Kavanagh;  44  1274  203 
408;  fax:  770  217;  lisa.kavanagh@nmsi.ac.uk; 
www.baf.org.uk. 


BRAUNSCHWEIG  INT'L  FILM  FESTIVAL,  Nov  8- 

13,  Germany.  Deadline:  Aug.  15.  Audience 
orientated  feature  film  fest  w/  18,000  spec- 
tators, showing  60  long  feature  films,  120 
short  films.  Founded:  1986.  Cats:  feature, 
short,  children,  experimental,  animation,  doc. 
Preview  on  VHS.  Entry  Fee:  None.  Contact: 
Festival;  011  49  (0)  0531-75597;  fax:  0531- 
75523;  info@filmfest-braunschweig.de; 
www.filmfest-braunschweig.de. 

CABBAGETOWN  SHORT  FILM  &  VIDEO 
FESTIVAL,  Sept.  7,  Canada.  Deadline:  Aug.  3. 
Fest,  held  as  past  of  Toronto's  Cabbagetown 
Festival,  accepting  works  under  15  mm. 
Cats:  Experimental,  Doc,  Animation,  short. 
Formats:  1/2".  Preview  on  VHS.  Entry  Fee: 
None.  Contact:  Old  Cabbagetown  Business 
Improv.  Office;  (416)  921-0857;  fax:  921- 
8245;  info@oldcabbagetown.com;  www.old 
cabbagetown.com. 

CINEFEST:  SUDBURY  INTERNATIONAL  FILM  FES- 
TIVAL, September  17-25,  Canada.  Deadline: 
July  1 5.  preview  on  VHS  or  DVD.  Entry  Fee: 
None.  Contact:  Festival;  (705)  688-1234; 
fax:  688-1351;  cinefest@cinefest.com; 
www.cinefest.com. 

CORTO  IMOLA  FESTIVAL,  Dec  8-12,  Italy 
Deadline:  Aug.  21.  Their  website  describes 
this  fest  as  "a  cultural  manifestation"  that 
aims  to  "express  the  enormous  potential  of 
the  short  film  cinema."  Cats:  short  (under  30 
min.):,  doc,  experimental,  animation,  fiction. 
Awards:  Cash  prizes  for  the  Best  in:  Doc, 
Fiction,  Animation,  &  Experimental.  Formats: 
35mm,  Beta  SP  (PAL),  DVD  (Zone  1  accept- 
ed). Preview  on  VHS  (PAL.  NTSC  or  SECAM). 
Contact:  for  June  to  October  Corto  Imola 
Festival;  011(39)0544-464349;  fax:  0544- 
464349;  mfo@cortoimolafestival.it;  www.cor 
toimolafestival.it. 

DEAUVILLE  FESTIVAL  OF  AMERICAN  FILM,  Sept 
2-11,  France.  Deadline:  July  15.  Fests  mis- 
sion is  "to  increase  the  European  audience 
for  American  cinema  through  an  extensive 
presentation  of  new  American  films".  Fest 
has  three  sections:  Premieres;  Competition 
(shorts  &  features)  &  Panorama  (non-com- 
petitive)  &  Doc  (non-competitive).  Cats:  fea- 
ture, short.  Formats:  35mm.  Preview  on  VHS 
or  DVD.  Entry  Fee:  None.  Contact:  c/o  Le 
Public  Systeme  Cinema;  01 1  33  41  34  2033; 


60  The  Independent  I  July/August  2005 


fax:  41  34  2077;  jlasserre@le-public-sys 
teme.fr;  www.festival-deauville.com. 

EXGROUND  FILMFEST,  Nov  1120,  Germany 
Deadline:  Aug.  1.  Non-competitive  fest 
seeks  "American  independents,  films  from 
the  Far  East,  shorts,  music  films,  trash  & 
more"  for  event  outside  the  mainstream. 
Competition  European  production  &  German 
shorts.  Founded:  1990.  Cats:  feature,  doc, 
short,  animation,  experimental,  music  video. 
Formats:  16mm,  35mm,  Beta  SR  super  8. 
Preview  on  VHS  (NTSC  or  PAL).  Entry  Fee: 
None.  Contact:  Andrea  Wink;  011  49  61 1  1 74 
8227;  fax:  174  8228;  info@exground.com; 
www.exground.com  . 

FANTASTISK  FILM  FESTIVAL:  LUND  INT'L  FILM 
FESTIVAL,  Sept.  16-25,  Sweden.  Deadline: 
July  30.  The  only  int'l  film  fest  in  Scandinavia 
totally  devoted  to  the  cinema  of  the  fantas- 
tic: science-fiction,  fantasy,  horror,  &  thriller. 
Cats:  feature,  doc,  short,  animation.  Awards: 
Melies  d'Argent/Best  European  Fantastic 
Film  (feature,  short),  Audience  Prize  (feature, 
live-action  short,  animation  short).  Formats: 
16mm,  35mm,  DV  (PAL),  Beta  SP  (PAL). 
Preview  on  VHS  (PAL  or  NTSC)  or  DVD. 
Entry  Fee:  None  (shorts  have  to  pay  their 
own  freight).  Contact:  Mats-Ola  Nilsson;  01 1 
46  46  132  135;  fax:  132  139;  info@fff.se; 
www.fff.se. 

FILMFEST  HAMBURG,  Sept  22-29,  Germany 
Deadline:  July  24.  The  Fest  is  Germany's 
major  cinematic  events.  The  programme  of 
about  100  titles  shows  a  distinctive  mixture 
of  mainstream  cinema,  art-house  &  films  of 
up-and-coming  directors.  Founded:  1969. 
Cats:  feature,  doc,  animation,  digital  produc- 
tions. Formats:  35mm,  16mm,  Beta. 
Preview  on  VHS.  Entry  Fee:  None.  Contact: 
Festival;  011  49  399  19  00  0;  fax:  40  399 
19  00  10;  office@filmfesthamburg.de; 
www.filmfesthamburg.de. 

FLANDERS  INT'L  FILM  FESTIVAL-  GHENT,   Oct 

11-22,  Belgium.  Deadline:  Aug  10.  Fest  orig- 
inated in  1 973  w/  focus  on  music  in  film.  Int'l 
|ury  selects  winners  from  features  from 
around  the  world  (many  of  them  w/out  a 
Belgian  distribution).  Fest  incl.  films  from  all 
over  the  world,  mainly  focusing  on  fiction 
films  &  to  lesser  extent  on  docs.  Founded: 
1973.   Cats:   feature,   doc,   short.   Formats: 


16mm,  35mm,  70mm,  Beta  SP,  DigiBeta. 
Preview  on  VHS  (PAL  or  NTSC).  Entry  Fee: 
None.  Contact:  Wim  De  Witte  c/o  les 
Citadines;  011  32  478  20  20  02;  info@film 
festival.be;  www.filmfestival.be. 

GIJON  INT'L  FILM  FESTIVAL  FOR  YOUNG 
PEOPLE,  Nov.  24-  Dec.  2,  Spain.  Deadline: 
Sept.  23.  Member  of  FIAPF  &  European 
Coordination  of  Film  Festivals.  Festival  aims 
to  present  the  newest  tendencies  of  young 
cinema  worldwide.  Founded:  1962.  Cats: 
Feature,  Short,  Children.  Formats:  35mm, 
16mm.  Preview  on  VHS  or  DVD.  Entry  Fee: 
None.  Contact:  Jose  Luis  Cienfuegos, 
Festival  Director;  011  34  98  518  2940;  fax: 
34  98  518  2944;  festivalgijon@telecable.es; 
www.gijonfilmfestival.com. 

GLOBAL  VISIONS  FILM  FESTIVAL,    Nov    3  6, 

Canada.  Deadline:  July  31.  GVFF  presents 
documentary  films  on  social  &  environmental 
issues.  Formats:  Beta  SP,  DVD,  35mm, 
16mm.  Preview  on  VHS  or  DVD  (NTSC). 
Entry  Fee:  $25.  Contact:  GVFF;  (780)  414- 
1 052;  entries@globalvisionsfestival.com; 
globalvisionsfestival.com. 

HAMBURG  LESBIAN  AND  GAY  FILM  FESTIVAL, 

Oct.  11-16,  Germany.  Deadline:  Aug.  1. 
Festival  seeks  work  of  all  lengths  &  genres. 
Cats:  any  style  or  genre,  feature,  doc,  short. 
Formats:  super  8,  16mm,  1/2",  35mm,  S- 
VHS,  U-matic,  Beta  SP,  DVD.  Preview  on 
VHS  or  DVD.  Entry  Fee:  No  entry  fee. 
Contact:  Querbild  E.V.,  Joachim  Post;  01 1  49 
0  40  348  06  70;  fax:  34  05  22;  mail@lsf-ham 
burg.de;  www.lsf-hamburg.de. 

INTERFILM  BERLIN  INT'L  SHORT  FILM  FESTIVAL 
BERLIN,  Nov.  1-6,  Germany.  Deadline:  July 
16.  Fest  is  the  int'l  short  film  event  of  Berlin. 
Films  &  videos  no  longer  than  20  min.  are  eli- 
gible. There  is  no  limit  as  to  the  yr.  of  pro- 
duction. Founded:  1982.  Cats:  doc,  short, 
animation,  experimental,  children.  Awards: 
15  prizes  in  various  cats.  Formats:  35mm, 
16mm,  Beta  SP  Preview  on  VHS 
(PAL/SECAM/NTSC)  or  DVD.  Entry  Fee: 
None.  Contact:  Heinz  Hermanns;  011  49  30 
693  29  59;  fax:  49  30  693  29  59; 
festival@interfilm.de;  www.interfilm.de. 

INT'L  PANORAMA  FOR  INDEPENDENT 
FILMMAKERS,    Sept.    25   -   Oct.    1,    Greece. 


Deadline:  August  1.  This  fest  aims  to  bring 
attention  to  the  glory  of  the  7th  art  by  bring- 
ing together  a  global  community  of  filmmak- 
ers &  filmgoers.  A  special  focus  is  drawn  to 
the  local  community  in  tone  &  special  prizes. 
Cats:  feature,  short,  doc,  animation,  experi- 
mental. Formats:  Beta  cam,  VHS,  DV  cam, 
Beta,  DVD,  Mini-DV,  1/2".  Preview  on  VHS 
or  DVD.  Entry  Fee:  None.  Contact:  Chionidis 
Panagiotis;  011  32310  959  4931;  fax:  959 
4936;  info@independent.gr;  www.independ 
ent.gr. 

KASSEL  DOC  FILM  &  VIDEO  FESTIVAL,  Nov   8 

13,  Germany.  Deadline:  Aug.  1.  This  fest 
aims  to  celebrate  the  art  of  documentary 
filmmaking  in  it's  six  day  fest.  Cats:  doc,  fea- 
ture, short,  installation.  Awards:  Cash  Prizes 
range  from  2,500  euros  to  3,000  euros. 
Formats:  16mm,  35mm,  DV,  DVD,  S-VHS, 
Betacam.  Preview  on  VHS  or  DVD  (NTSC  or 
PAL).  Entry  Fee:  None.  Contact:  c/o 
Filmladen  Kassel  E.V.;  01 1  49  561  707  64  1 2; 
fax:  707  64  41;  dokfest@filmladen.de; 
www.filmladen.de/dokfest. 

KINOFILM/MANCHESTER  INT'L  SHORT  FILM  & 
VIDEO  FESTIVAL,  Feb.  27-  March  6,  England. 
Deadline:  July  16.  Entry  is  open  to  anyone  in 
the  film  making  community  incl.  first  time 
film  makers.  Founded:  1993.  Cats:  Short, 
Animation,  Experimental,  music  video,  stu- 
dent, children,  doc,  any  style  or  genre. 
Formats:  35mm,  Beta  SP,  Mini-DV,  DVD. 
Preview  on  VHS.  Entry  Fee:  5  pounds  UK  (5 
Euros  or  US  $10).  Contact:  John  Wojowski, 
Fest  Dir;  01 1  44  161  288  2494;  fax:  161  281 
1374;  kino.submissions@good.co.uk; 

www.kinofilm.org.uk. 

LEIPZIG  INT'L  FESTIVAL  FOR  DOC  &  ANIMATED 
FILMS  ,  Oct.  3-9,  Germany.  Deadline:  July  22. 
Founded:  1955.  Cats:  doc,  animation,  TV 
Formats:  35mm,  16mm,  Beta  SP,  DigiBeta. 
Preview  on  VHS  or  DVD.  Entry  Fee:  None. 
Contact:  Gerol  Wernes  Schnabel;  011 
49  341  9  80  39  21;  fax:  9  80  61  41; 
info@dokfestival-leipzig.de;  www.dokfestival 
leipzig.de. 

LES  ECRANS  DE  L'AVENTURE/INT'L  FESTIVAL  OF 
ADVENTURE  FILM,  Oct  14  16,  France 
Deadline:  July  15.  Held  in  Dijon,  fest  is  a 
showcase  for  recent  adventure-themed 
docs.  Cats:  doc,  children.  Formats:  Beta  SP 


July/August  2005  I  The  Independent  61 


(PAL).  Preview  on  VHS  (PAL,  Secam)  or  DVD. 
Entry  Fee:  None.  Contact:  Geo  Poussier; 
01 1  33  1  43  26  97  52;  fax:  33  1  46  34  75  45; 
aventure@la-guilde.org. 

LONDON  FILM  FESTIVAL,  Oct   19    Nov  3,  UK 

Deadline:  July  15.  Overall,  180  int'l  features 
&  100  short  films  showcased.  Extensive 
media  coverage  &  audiences  over  110,000. 
Entries  must  be  UK  premieres,  produced 
w/in  preceding  18  months.  Founded:  1957. 
Cats:  short,  animation,  feature,  doc,  any 
style  or  genre,  children.  Formats:  35mm, 
16mm,  8mm,  3/4",  super  8,  70mm.  Preview 
on  VHS.  Entry  Fee:  None.  Contact:  Sarah 
Lutton;  011  44  20  7815  1322;  fax:  44 
20  7633  0786;  sarah.lutton@bfi.org.uk; 
www.lff.org.uk. 

MONTPELLIER  INT'L  FESTIVAL  OF 
MEDITERRANEAN  FILM,  Oct  21-30,  France 
Deadline:  July  15  (shorts, docs);  Aug.  31  (fic- 
tion features).  Competitive  fest  seeking  works 
of  fiction  by  directors  from  the  Mediterranean 
Basin,  the  Black  Sea  states,  Portugal  or 
Armenia  which  address  the  cultural  represen- 
tation of  the  areas.  Fest  offers  a  development 
aid  grant  to  a  single  feature-length  film.  Cats: 
Feature,  Short,  doc.  Formats:  16mm,  35mm, 
Video  for  docs  &  experimental.  Preview  on 
VHS  or  DVD.  Entry  Fee:  None.  Contact 
Cinema  Mediterranee;  011  33  499  13  73  73 
fax:  011  33  499  13  73  74 
info@cmemed.tm.fr;  www.cinemed.tm.fr. 

MONTREAL  WORLD  FILM  FESTIVAL,  Aug    25- 

Sept.  5,  Canada  .  Deadline:  June  23  (shorts); 
July  30  (Features).  Features  in  competition 
must  be  prod  in  12  months  preceding  fest, 
not  released  commercially  outside  of  country 
of  origin  &  not  entered  in  any  competitive 
int'l  film  fest  (unreleased  films  given  priority). 
Shorts  must  be  70mm  or  35mm  &  must  not 
exceed  15  min.  Founded:  1977.  Cats:  fea- 
ture, short,  any  style  or  genre.  Formats: 
35mm,  70mm,  DVD,  Video.  Preview  on  VHS. 
Entry  Fee:   none.   Contact:   Serge   Losique, 


Fest  Dir.;  (514)  848-3883;  848-9933; 
fax:  848-3886;  info@ffm-montreal.org; 
www.f  f  m-montrea  I  .org . 

NORDIC  FILM  DAYS  LUBECK,  Nov  4-7, 
Germany.  Deadline:  Aug.  20.  This  fest  aims 
to  promote  Scandinavian  &  Baltic  filmmak- 
ers. Cats:  short,  feature.  Formats:  35mm, 
16mm,  Beta  SP  Preview  on  VHS.  Entry  Fee: 
none.  Contact:  Janina  Prossek;  011  0451 
122  1742;  fax:  0451  122  1799; 
janina.prossek@filmtage.luebeck.de; 
www.filmtage.luebeck.de. 

OURENSE  INT'L  INDEPENDENT  FILM  FESTIVAL, 

Nov.  12-19,  Spain.  Deadline:  July  31.  Fest 
accepts  works  in  all  genres  &  languages  to 
compete  for  cash  prizes.  Founded:  1996. 
Cats:  feature,  doc,  short,  experimental,  ani- 
mation. Formats:  35mm,  1/2",  Beta  SP. 
Preview  on  VHS.  Entry  Fee:  None.  Contact: 
Patricia  Iglesias;  01 1  34  988  224  127;  fax:  34 
988  296  9619;  oufest@ourencine.com; 
www.ourencine.com. 

REGENSBURG  SHORT  FILM  WEEK,  Nov  16-23, 
Germany.  Deadline:  Aug.  1.  Regenburg  rev- 
els in  the  unique  aesthetic  of  the  short  film  in 
it's  week-long  fest.  Cats:  short  (under  30 
mm.  only).  Formats:  35mm,  16mm,  8mm,  S- 
VHS,  DVD,  DV,  1/2",  Beta  SP.  Preview  on 
VHS.  Entry  Fee:  None.  Contact:  Festival;  01 1 
49  941  56  09  01;  fax:  941  56  07  16; 
info@kurzfilmwoche.de;  www.regensburg 
er-kurzf  ilmwoche.de. 

SAO  PAULO  INT'L  FILM  FESTVAL,  Oct  21 -Nov  3, 
Brazil.  Deadline:  Aug  9.  Founded:  1979.  Cats: 
feature,  doc,  short.  Formats:  35mm,  16mm. 
Preview  on  VHS  or  DVD.  Entry  Fee:  None. 
Contact:  Festival;  011  55  11  3141  2548; 
fax:  55-11-3266-7066;  info@mostra.org; 
www.mostra.org. 

SHORT  CUTS  COLOGNE,    Nov    30       Dec    4, 

Germany.  Deadline:  July  30.  Int'l  competition 
welcomes  filmmakers  from  around  the  globe 


to  submit  their  films.  Cats:  doc,  short,  exper- 
imental, animation,  children,  any  style  or 
genre.  Formats:  Super  8,  16mm,  35mm, 
DVD,  S-VHS,  Beta  SP,  DV,  1/2".  Preview  on 
VHS  or  DVD.  Entry  Fee:  None.  Contact: 
Festival;  011  49  221  222  710  27;  fax:  222 
710  99;  scc@koel  ner-filmhaus.de; 
www.short-cuts-cologne.de. 

SHORT  SHORTS  FILM  FESTIVAL,    May  Aug  , 

Japan.  Deadline:  Aug.  1.  SSFF  (Formerly 
American  Shorts)  was  founded  to  promote 
cultural  exchange  between  the  United  States 
&  Japan.  Seeks  shorts  under  25  min.  that 
were  produced  since  January  of  previous 
year.  Cats:  short.  Preview  on  VHS  NTSC 
only..  Entry  Fee:  No  entry  fees.  Contact:  Katy 
O'Connell,  Prog.  Asst;  (310)  656-9767;  fax: 
same;  look@shortshorts.org;  www.short- 
shorts.org. 

SPORT  MOVIES  &  TV,  Oct.  27-Nov.  1,  Italy. 
Deadline:  July  30.  Fest  dubs  itself  "the  most 
important  Worldwide  fest  dedicated  to 
sports  television  &  movies."  Preview  on 
VHS.  Entry  Fee:  60  Euros;  01 1  39  02  894  090 
76;  fax:  837  59  73;  :nfo@sportmovi  estv.com; 
www.sport  moviestv.com. 

TAIWAN  INT'L  CHILDREN'S  TV  &  FILM  FESTIVAL, 

Jan.  13-17,  Taiwan.  Deadline:  August  20. 
Cats:  children,  feature,  animation,  TV,  doc. 
Formats:  Beta  SP,  16mm,  35mm.  Entry  Fee: 
None.  Contact:  Gary  Sheu;  011  886  2  2630 
1137;  fax:  2630  1854;  kuojensheu 
@yahoo.com.tw;  www.tictff.org.tw. 

TOKYO  FILMEX,  Nov.  19-27,  Japan.  Deadline: 
July  31.  Founded:  2000.  Cats:  features  by 
Asian  directors.  Awards:  Grand  Prize,  Special 
Jury  Prize.  Formats:  35mm,  16mm.  Preview 
on  VHS  (all  formats)  .  Entry  Fee:  None. 
Contact:  TOKYO  FILMeX  office;  81  3  3560 
6393;  fax:  3  3586  0201;  info@filmex.net; 
www.filmex.net. 


62  The  Independent  I  July/August  2005 


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NYC!  Transfer  to  DVD  only  $40.  VHS  dubs. 
DVCAM  decks  &  camera  packages  by 
day/week/month.  1:1  Meridian  Avid  suite  & 
MC4000  suite.  Production  office  space,  too!  Call 


Production  Central  (212)  631-0435,  www.prod 
central.com. 

FANLIGHT  PRODUCTIONS  20+  years  as  an  industry 
leader!  Join  more  than  100  award-winning  film  & 
video  producers.  Send  us  your  new  works  on 
healthcare,  mental  health,  aging,  disabilities, 
and  related  issues.  (800)  937-4113;  www.fan 
light.com. 

OFFICE  SPACE  within  well-established  video  facili- 
ty. 5  Office  Rooms/Production  Space  available. 
Access  to  adjoining  conference  room,  kitchen, 
large  sun-filled  lounge.  Stage  &  post  rooms  on 
site.  22  Year-old  Full  Production/Post  Production 
Facility  seeking  media-related  tenants  for  mutual- 
ly beneficial  relationship.  Great  Chelsea  location. 
(212)206-1402. 

UNION  SQUARE  AREA  STAGE  RENTALS,  production 
space,  Digibeta,  Beta  SP,  DVCAM,  mini-DV,  hi-8, 
24-P,  projectors,  grip,  lights,  dubs,  deck  and  cam- 
era rentals.  Uncompressed  Avid  and  FCP  suites, 
too.  Production  Central  (212)  631-0435 

FREELANCE 

35MM  &  16MM  PROD.  PKG.  w/  DP  Complete  pack- 
age w/  DP's  own  Arn  35BL,  16SR,  HMIs,  lighting, 
dolly,  Tulip  crane,  camjib,  DAT,  grip  &  5-ton  truck, 
more.  Call  for  reel:  Tom  Agnello  (201)  741-4367; 
roadtoindy@aol  com . 

ACCOUNTANT/BOOKKEEPER/CONTROLLER: 

Experience  in  both  corporate  &  nonprofit  sectors. 
Hold  MBA  in  Marketing  &  Accounting.  Freelance 


work  sought.  Sam  Sagenkahn  (917)  374-2464. 

ANDREW  DUNN,  Director  of  Photography/  camera 
operator  Arn35  BL3,  Aaton  XTRprod  S16,  Sony 
DVCAM.  Experience  in  features,  docs,  TV  & 
industrials.  Credits:  Dog  Run,  Strays,  Working 
Space/Working  Light.  (212)  477-0172; 
AndrewDI  58@aol.com. 

ARE  YOU  STUCK?  Fernanda  Rossi,  script  &  docu- 
mentary doctor,  specializes  in  narrative  structure 
in  all  stages  of  the  filmmaking  process,  including 
story  development,  fundraising  trailers  and  post- 
production.  She  has  doctored  over  30  films  and  is 
the  author  of  Trailer  Mechanics.  For  private  con- 
sultations and  workshops  visit  www.documen 
tary  doctor.com  or  write  to  info@documentarydoc 
tor.com. 

CAMERAMAN/STEADICAM  OPERATOR  Owner 
Steadicam,  Arri  35  BL,  Arri  16  SR,  Beta  SP,  Stereo 
TC  Nagra  4,  TC  Fostex  PD-4  DAT,  lighting  pack- 
ages to  shoot  features,  music  videos,  commer- 
cials, etc.  Call  Mik  Cribben  for  info  &  reel,  (212) 
929-7728  in  NY  or  800-235-2713  in  Miami. 

COMPOSER  MIRIAM  CUTLER  loves  to  collaborate: 
docs,  features.  Lost  In  La  Mancha/IFC,  Scout's 
Honor,  Licensed  To  Kill,  Pandemic:  Facing 
Aids/HBO,  Indian  Point/HBO,  Positively 
Naked/HBO,  Stolen  Childhoods,  Amy's  O  & 
more.  (310)  398-5985  mir.cut@verizon.net. 
www.miriam  cutler.com. 

COMPOSER:  Original  music  for  your  film  or  video 
proiect.  Will  work  with  any  budget.  Complete  dig- 


July/August  2005  I  The  Independent  63 


Need  shoes? 


No,  not  camera  shoes. 


Lisa  Nading 

Camper 

Fluevog 

Kenneth  Cole 

Tsubo 

Gentle  Souls 

Hispanitas 


shoe  shangri-la.    (  vj 


NE  Alberta  +  22nd    |    Portland,  Oregon    |    503.460.0760 
solc@pcdxshocs.com       www.pedxshoes.com 


ital  studio.  NYC  area.  Demo  CD  upon  request. 
Call  Ian  O'Brien:  (201)  222-2638;  iobrien@bel 
latlantic.net. 

DP  WITH  ARRI  SR  SUPER  16/16MM  AND  35BL-2 
CAMERA  PACKAGES.  Expert  lighting  and  cam- 
erawork for  independent  films,  music  videos, 
etc.  Superb  results  on  a  short  schedule  and 
low  budget.  Great  prices.  Willing  to  travel. 
Matthew  617-244-6730. 

DIGITAL  DP/CAMERA  OPERATOR:  with  a  Sony 
DSR-500WSL/1  camera  package.  Electronic 
Cinematography,  documentary,  independent 
friendly,  reasonable  rates.  Full  Screen/Wide 
Screen-(4:3/16:9).  For  reel,  rate  &  info  call: 
(516)783-5790. 

EXPERIENCED  CINEMATOGRAPHER  with  crew 
and  equipment.  16mm  35mm  Video.  Short 
films  and  features.  Vincent  (212)  779-1441 . 

FREELANCE  CAMERA  GROUP  IN  NYC  seeking 
professional  cameramen  and  soundmen  w/ 
solid  Betacam  experience  to  work  w/  wide 
array  of  clients.  If  qualified,  contact  COA  at 
(212)  505-1911.  Must  have  documentary 
/news  samples  or  reel. 

FUNDRAISING/GRANTWRITING/PROJECT  DEVEL- 
OPMENT Research,  writing  &  strategy  for 
production,  distribution,  exhibition  &  educa- 
tional media.  Successful  proposals  to  NYSCA, 
NEA,  Sundance,  ITVS,  Rockefeller 
Foundation,  Robeson  Foundation.  Fast 
writers,  reasonable  rates.  Wanda  Bershen, 
(212)  598-0224;  www.reddiaper.com. 

NEW  MUSIC  PRODUCTION  COMPANY  with 
many  years  combined  composing  experience. 
Audioreel  provides  all  the  services  that  you 
may  require  for  your  production,  from  scoring 
to  picture,  too  flash  music  for  web  sites. 

SOUND  RECORDIST/PLAYBACK  OP.  available  for 
Features,  Music  Videos,  and  Corporate. 
Equipment-  Dat  /  Nagra  (time  code),  5  wire- 
less mics,  mixers,  playback  speakers,  smart 
slate,  comteks,  cart:  Mike  S.  212-620-0084. 

STEADICAM  OPERATOR  -  NY  based,  experi- 
enced and  professional.  Top  of  the  line  equip- 
ment: TB-6  monitor,2xBFD  Follow  Focus/ 
Aperture,  Modulus.  35mm,  16mm,  HD, 
BetaSP.  Call  George  @  212-620-0084. 


64  The  Independent  I  July/August  2005 


OPPORTUNITIES/GIGS 

COORDINATOR    BIG    MUDDY    FILM    FESTIVAL. 

Southern  Illinois  University  Carbondale 
College  of  Mass  Communication  and  Media 
Arts.  Bachelor's  degree  in  film,  media  studies, 
or  related  field,  two  years  experience  in 
supervisory  position  including  direct  experi- 
ence in  budgeting,  personnel  management, 
and  planning  required.  Evidence  of  excellent 
written  and  verbal  communication  skills,  famil- 
iarity with  grant  writing/fundraising  processes 
in  the  arts  or  humanities  required.  Evidence  of 
leadership  role  in  community  service  oriented 
activity  preferred.  The  Coordinator  supervises 
all  aspects  of  the  planning  and  execution  of 
the  Festival  including  matters  of  budget, 
staffing,  and  scheduling;  engages  in  research- 
ing and  applying  for  grants  and  funding;  super- 
vises student  staff;  manages  community  rela- 
tions and  outreach;  and  performs  duties  as 
assigned  in  support  of  the  Festival  and  related 
College  activities.  The  Big  Muddy  Film 
Festival  presents  an  annual  media  event  that 
honors  innovative  independent  film  and  video 
work  celebrating  and  analyzing  a  complex, 
diverse,  and  challenging  world.  It  is  unique  for 
the  region  and  special  in  times  that  give  pri- 
mary attention  to  the  entertainment  industry 
and  corporate  control  of  media.  Application 
Deadline:  July  31,  2005,  or  until  filled.  Only 
applications  by  mail  will  be  considered.  Send 
letter  of  application,  resume,  and  three  letters 
of  recommendation  to:  Professor  Mike 
Covell,  Search  Committee  Chair,  Coordinator 
"Big  Muddy  Film  Festival,  Department  of 
Cinema  and  Photography,  Southern  Illinois 
University  Carbondale"  Mail  Code  6610, 
Carbondale,  IL  62901.  SIUC  is  an  affirmative 
action/equal  opportunity  employer  that  strives 
to  enhance  its  ability  to  develop  a  diverse  fac- 
ulty and  staff  and  to  increase  its  potential  to 
serve  a  diverse  student  population.  All  appli- 
cations are  welcomed  and  encouraged  and 
will  receive  consideration. 

DHTV,  a  progressive,  nonprofit  community 
media  center  and  TV  station  in  St.  Louis,  MO 
seeks  works  by  indie  producers.  Half  hour 
and  1  hour  lengths.  S-VHS  accepted,  DVD 
preferred.  Nonexclusive  rights  release  upon 
acceptance.  No  pay  but  exposure  to  60,000 
cable  households.  Contact  Manah 
Richardson,  dhTV,  625  N.  Euclid,  St.  Louis,  Mo 
63108,  314.361.8870  x230,  manah@dhtv.org. 


LOOKING  FOR  A  GREAT  STORY  SET  IN  THE 
HEARTLAND?  See,  "How  High  Is  A  Robin's 
Nest?"  At  www.ronniebooks.com. 

POSTPRODUCTION 

BRODSKY  &  TREADWAY:  film-to-tape  transfers, 
wet-gate,  scene-by-scene,  reversal  film  only. 
Camera  original  Regular  8mm,  Super  8,  and 
16mm.  For  appointment  call  (978)  948-7985. 

CERTIFIED  FINAL  CUT  PRO  INSTRUCTOR  AND 
EDITOR:  DV  and  Beta  SP  -  learn  Final  Cut  Pro 
from  professional  editor  and  Apple  Certified 
instructor.  Log  onto  www.HighNoonprod.com 
or  call  917-523-6260;  or  e-mail 
mfo@HighNoonProd.com. 

PRODUCTION  TRANSCRIPTS:  Verbatim  tran- 
scription service  for  documentaries, 
journalists,  film  and  video.  Low  prices  &  flat 
rates  based  on  tape  length,  www.production 
transcripts.com  for  details  or  call:  (888)  349- 
3022. 

PREPRODUCTION  I 
DEVELOPMENT 


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ee  Project  Evaluation 


244  Finn  ftvenue.  Snlie  u  2518  MY  NY  10001 


SCRIPT/STORY/CREATIVE   CONSULTANT    w/   8 

years  Miramax  experience,  Maureen  Nolan 
offers  a  full  range  of  consulting  services  for 
writers  and  filmmakers.  Script  consults, 
coaching,  story  development,  rewrites,  etc. 
212-663-9389  or  917-620-6502. 

WEB 

WEB  SITE  DESIGNER:  Create  multimedia  web 
sites,  integrating  video,  sound,  and  special 
effects,  that  promote  your  films  and/or  your 
company,  www.____________design.com. 
Info:  ______  ______,  phone:  ___-___-____, 
email:  sabme@______.net. 


C 


"entertaining. ..exemplary 
cast  and  canny  direction.*' 

— San  Francisco  Examiner 


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girlfriend.  Features  the  musi 
f  Academy  Award-winning 
composer  Michel  Legrand 


n  r      J  2005  KOCH  Lorber  Films  LLC 
xBERl    A"  R'9h,s  Resrved  •  kochlorbertilms.com 


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COMPETITIONS 

2005  SANTA  BARBARA  SCRIPT  COMPETITION 

seeks  submissions.  Entry  fee  $40.  Grand  Prize 
$2000  Option,  First  Prize  $750.  All  winners  will 
also  receive  screenwriting  related  books, 
materials  and  or  software.  Special  Cash  Award 
for  Regional  Writer  to  be  awarded  to  a  South 
Coast  Resident.  (Santa  Barbara,  Ventura,  San 
Luis  Obispo  counties  in  California).  Regular 
submission  deadline  is  June  30th  and  late 
is  July  31.  Contact:  Geoff@santabar 
barascript.com  or  visit  www.santabar 
barascript.com. 

THE  AMATEUR  MOVIE  MAKERS  ASSOCIATION 

seeks  submissions  for  their  Magic  Moments 
Contest.  Films  should  be  one  minute  (  or  less) 
video  and  submit  it  on  VHS  tape  on  or  before 
August  5,  2005.  You'll  have  a  chance  to  be  the 
winner  or  one  of  the  two  runner-ups  selected 
by  a  panel  of  experienced  judges.  Please  visit 
their  website  for  more  information: 
www.ammaweb.org. 


Annual  TV  Producers'  Boot  Camp,  July  28-29, 
2005,  in  West  Hollywood.  The  TV  Producers' 
Boot  Camp  is  an  interactive,  one  and  a  half 
day  event  with  the  goal  of  providing  "inside 
information"  on  how  the  TV  industry  really 
works.  Through  panels,  sessions  and  work- 
shops as  well  as  the  Boot  Camp  Pitch  Pit, 
where  participants  get  face  time  with  agents 
and  production  executives,  attendees  get 
real  access  to  real  pros  in  real  time!  If  you 
have  any  questions,  please  visit  NATPE  web- 
site at  www.natpe.org  or  contact  Pamela. 

SILVERMAN  AT  (310)  453-4440.  REEL  VISION  FILM- 
MAKERS' CONFERENCE  October  21-23,  2005, 
Radisson  Hotel,  City  Center  Tucson,  Arizona. 
In  this  competitive  industry,  filmmakers  need 
an  edge  to  break  in.  That  edge  is  having  an 
outstanding  script  and  an  innovative  voice. 
Linda  Seger  is  just  one  of  the  world  class 
screenwriting  and  filmmaking  instructors 
teaching  attendees  how  to  express  their 
unique  vision  on  film.  Registration:  $100, 
www.reelinspiration.org,  520-325-91 75. 


www.sextans.com/altercme/  or  email  alter 
cine@ca.tc. 

FOR  MORE  INF0RMATI0N.ARTISTS'  FELLOW- 
SHIPS are  $7,000  cash  awards  made  to  indi- 
vidual originating  artists  living  and  working  in 
the  state  of  New  York  for  use  in  career  devel- 
opment. Grants  are  awarded  in  16  artistic 
disciplines,  with  applications  accepted  in  eight 
categories  each  year.  The  next  deadline  for 
Artists'  Fellowships  is  Monday,  October  3, 
2005.  At  that  time  we  will  be  accepting 
applications  in  the  following  categories: 
Architecture/  Environmental  Structures, 
Choreography,  Fiction,  Music  Composition, 
Painting,  Photography,  Playwriting/ 

Screenwriting,  and  Video.  To  learn  more  about 
Artists'  Fellowships  visit  our  website  at: 
www.nyfa.org/afp.  Applications  for  the 
remaining  categories — Computer  Arts,  Crafts, 
Film,  Nonfiction  Literature,  Performance  Art/ 
Multidisciplinary  Work,  Poetry,  Printmaking 
Drawing/Artists'  Books,  and  Sculpture — will 
be  accepted  in  early  October  2006. 


CONFERENCES  /  WORKSHOPS 

COMIC-CON  INTERNATIONAL  is  the  largest  gath- 
ering of  comic  book,  science  fiction,  film  and 
television  fans  in  the  nation.  Featuring  celebri- 
ty guests,  seminars  on  breaking  into  filmmak- 
ing and  near  24-hour  film  retrospectives. 
Comic-Con  is  the  place  for  fans  of  all  things 
pop  culture.  For  more  information,  visit 
www.comic-con.org. 

THE  NATIONAL  ASSOCIATION  OF  TELEVISION 
PROGRAM  EXECUTIVES  is  producing  the  3rd 


RESOURCES  / FUNDS 

ALTER-CINE  FOUNDATION  will  award  a  one- 
time grant  of  $1 0,000  to  a  video  or  filmmaker 
to  assist  in  the  production  of  a  documentary 
proiect.  The  grant  is  aimed  at  young  video 
and  filmmakers  from  Africa,  Asia  and  Latin 
America  who  want  to  direct  a  film  in  the  Ian- 
gage  of  their  choice.  Application  must  be 
post  paid  to:  Foundation  Alter-Cine  5371 
avenue  de  I'Esplanade  Montreal,  QC  CANA- 
DA H2T  2Z8  Only  application  received  before 
Aug.  15,  2005  will  be  accepted-please  visit 


BOSTON  FILM/VIDEO  FOUNDATION  Seeks  pro- 
posals for  fiscal  sponsorship  from  indie  pro- 
ducers. No  deadline  or  genre  restrictions. 
Contact  BFVF  for  brochure:  Chene  Martin, 
1126  Boylston  St.,  Boston,  MA  02215;  (617) 
536-1540;  fax:  536-3576;  www/bfvf@aol.com. 

CALIFORNIA  ARTS  COUNCIL  offers  various 
grants  &  programs  for  performing  arts. 
Contact:  CA  Arts  Council,  1300  1  St,  Ste.  930, 
Sacramento,  CA  95814;  (916)  322-6555;  (800) 
201-6201;  fax:  322-6575;  cac@cwo.com; 
www.cac.ca.gov. 


66    The  Independent  I  July/August  2005 


CHICAGO  UNDERGROUND  FILM  FUND  Grants 
awarded  to  selected  film  or  video  makers 
for  post-production  on  works-in-progress 
that  are  in  keeping  with  the  festival's  mis- 
sion to  promote  works  that  push  bound- 
aries, defy  commercial  expectations  and 
transcend  the  mainstream  of  independent 
filmmaking.  Grants:  between  $500  and 
$2,000  Chicago  Underground  Film  Festival 
3109  North  Western  Ave.  Chicago,  IL 
60618  (phone)  773-327-FILM  (fax)  773- 
327-3464  Email:  info@cuff.org.  Website: 
www.cuff.org. 

CR0SSP0INT  FOUNDATION  seeks  to  reduce 
discrimination  and  foster  understanding 
and  tolerance  amongst  all  peoples.  The 
Crosspoint  Foundation  specifically  sup- 
ports projects  in  the  areas  of:  Education, 
the  arts,  societal  concerns,  indigenous 
issues,  intellectual  property  rights,  religion, 
family,  general  cultural  issues.  Supporting 
the  production  and  dissemination  of  docu- 
mentary film,  dramatic  works,  CDs  or  other 
media;  supporting  public  film,  arts,  and  cul- 
tural festivals;  facilitating  public  discussion 
and  debate;  encouraging  and  supporting 
educational  activities;  encouraging  and  sup- 
porting domestic  and  international 
exchanges.  Grants  in  the  range  of 
$500-$2,000.  The  Crosspoint  Foundation, 
Inc.  1 2322  W.  64th,  PMB  #1 1 8  Arvada,  CO 
80004.  Phone:  303.902.2072.  FAX 
603.737.3388  Email:  info@crosspointfoun 
dation.org.  http://crosspointfoundation.org. 

ILLINOIS  ARTS  COUNCIL  SPECIAL  ASSIS- 
TANCE ARTS  PROGRAM  Matching  grants  of 
up  to  $1,500  avail,  to  IL  artists  for  specific 
projects  such  as  registration  fees  &  travel 
to  attend  conferences,  seminars,  or  work- 
shops; consultant  fees  for  resolution  of 
specific  artistic  problems;  exhibits,  per- 
formances, publications,  screenings;  mate- 
rials, supplies,  or  services.  Apps.  must  be 
received  at  least  8  wks  prior  to  project 
starting  date.  Degree  students  not  eligible. 
(312)  814-6570  toll-free  in  IL  (800)  237- 
6994;  www.ilarts@artswire.org. 

JOHN  D.  &  CATHERINE  T.  MACARTHUR  FOUN- 
DATION Grants  support  public  interest 
media  projects,  including  independent 
documentary  film,  that  advance  the  broad 
purposes  of  the  Foundation:  Human  and 
Community     Development    and     Global 


Security  and  Sustainability.  John  D.  & 
Catherine  T.  MacArthur  Foundation  149  S. 
Dearborn  St.,  Suite  1100,  Chicago,  IL 
60603  (phone)  312-726-8000;  www.mac 
found.org. 

MEDIA  ARTS  TECHNICAL  ASSISTANCE  FUND 

is  designed  to  help  non-profit  media  arts 
programs  in  New  York  State  stabilize, 
strengthen  or  restructure  their  media  arts 
organizational  capacity,  services  and  activi- 
ties. The  fund  will  provide  up  to  $2,000  per 
project  to  organizations  which  receive  sup- 
port from  NYSCAs  Electronic  Media  and 
Film  program.  The  Media  Arts  Technical 
Assistance  fund  can  assist  with  the  hiring 
of  consultants  or  other  activities  which  con- 
tribute to  organizational,  management  and 
programming  issues  which  influence  the 
media  arts  activities.  Contact  Sherry  Miller 
Hocking,  Program  Director  at  Experimental 
Television  Center  deadlines  for  application 
are  January  1,  2005;  April  1,  July  1,  and 
October  1 . 

PAUL  ROBESON  FUND  for  Independent 
Media  Film/video  projects  that  will  reach  a 
broad  audience  with  an  organizing  compo- 
nent and  can  demonstrate  that  the  produc- 
tion will  be  used  for  social  change  organiz- 
ing. Grants:  Up  to  $15,000;  most  $3,000- 
$6,000  Paul  Robeson  Fund  for 
Independent  Media  The  Funding  Exchange 
666  Broadway,  Suite  500  New  York,  NY 
10012  212-529-5300  (fax)  212-982-9272 
Email:  tnnhh.duong@fex.org  Website: 
www.fex. org/2. 3_grantmakingindex.html. 

THE  ANTHONY  RADZIWILL  DOCUMENTARY 
FUND  Grants  to  emerging  and  established 
documentary  filmmakers  in  the  form  of 
development  funds  (seed  money)  for  spe- 
cific new  projects.  Administered  by 
IFP/New  York,  the  Fund  seeks  to  provide 
an  additional  much-needed  source  of  fund- 
ing for  independent  non-fiction  filmmakers 
at  the  earliest  stage  of  new  work,  tradition- 
ally a  difficult  point  at  which  to  secure  fund- 
ing. The  Fund  is  named  in  memory  of  the 
late  Anthony  Radziwill,  an  Emmy  Award- 
winning  documentary  producer.  Anthony 
Radziwill  Documentary  Fund  IFP/New  York 
104  West  29th  Street,  12th  Floor  New 
York,  NY  10001  Phone:  212-465-8200  x 
830  Email:  docfund@ifp.org.  Website: 
http://market.ifp.org/newyork/docfund. 


Now  on  DVD! 

O    "Hysterical    %$ 
and  devastating!" 

-Lorraine  Ali,  iVeu'wrffc 


^riia»iTiiiiilP<l T'  I  ii 


H    Iwavivve  \»*Urvei\tioA 


/WINNERS  /WINNERS 

M  CHICAGO  INTERNAKONAL  »    g     CANNES  FILM  FESTIVAL     M 

Wk.      FILM  FESTIVAL      JJ     W         JURY  PR:ZE        J/ 


Elia  Suleiman's  critically-acclaimed  satire  chronicles 

the  absurdities  of  life  and  love  on  both  sides 

of  the  Palestinian-Israeli  border. 

A  Story  of  Love, 

Blackmail 

and  Murder? 


marie,,  julien 


Julian  is  reunited  with 

%     his  lover  Marie  who  is 

S  WINNER     ^  hiding  a  secret  that  he 

\  »nSu  J  must  uncover  and  risk 

%.  film  festival  j@?   losing  her  forever. 

AVAILABLE  AT 


HRfUlS 


)  2005  KOCH  Lorber  Films  LLC 
irRwhls  Resived  •  kochlorbertilms  com 


July/August  2005  I  The  Independent  67 


THE  FRAMELINE  COMPLETION  FUND  encour- 
ages lesbian,  gay,  bisexual  and  transgender 
film  and  videomakers  to  apply  to  Frameline 
for  the  Frameline  Film  &  Video  Completion 
Fund.  Grants  in  a  range  of  $3,000  to  $5,000 
are  available  once  annually  for  projects  in  the 
final  stages  of  production.  The  Frameline 
Completion  Fund  was  established  in  1991  to 
assist  artists  in  the  final  stages  of  produc- 
tion. Applications  are  available  in  August  and 
grants  are  awarded  annually  in  December. 

THE  FREESOUND  PROJECT  is  a  website  which 
aims  to  create  a  huge  collaborative  database 
of  audio  snippets,  samples,  recordings, 
bleeps,  all  released  under  the  Creative 
Commons  Sampling  Plus  License.  The 
Freesound  Project  provides  new  and  inter- 
esting ways  of  accessing  these  samples, 
allowing  users  to  browse  the  sounds  in  new 
ways  using  keywords,  up  and  download 
sounds  to  and  from  the  database  (under  the 
same  creative  commons  license),  and  inter- 
act with  fellow  sound-artists,  http:// 
freesound.iua.upf.edu/index.php. 

THE  LEEWAY  FOUNDATION,  which  supports 
individual  women  artists,  arts  programs,  and 
arts  organizations  in  the  Greater  Philadelphia 
region,  has  announced  the  Art  and  Change 
Grants  provide  immediate,  short-term  grants 
of  up  to  $2,500  to  women  artists  in  the 
Philadelphia  region  who  need  financial  assis- 
tance to  take  advantage  of  opportunities  for 
art  and  change.  The  artist's  opportunity  for 
change  must  be  supported  by  or  be  in  col- 
laboration with  a  Change  Partner:  a  person, 
organization,  or  business  that  is  providing 
the  opportunity  or  is  a  part  of  the  opportuni- 
ty in  some  way.  Eligible  Change  Partners 
include  mentors,  editors,  galleries,  commu- 
nity art  spaces,  theaters,  nonprofit  organiza- 
tions, film  studios,  and  clubs.  (Art  and 
Change  Grant  Deadlines:  April  11,  June  20, 
and  October  31,  2005.)  Visit  the  Leeway 
Foundation  website  for  grantmaking  guide- 
lines and  application  forms. 

THE  NATIONAL  FOUNDATION  FOR  JEWISH  CUL- 
TURE is  inviting  proposals  for  the  Fund  for 
Jewish  Cultural  Preservation  (FJCP).T  wo 
types  of  proposals  will  be  considered:  1) 
institutional  projects  or  programs  —  that  is, 
projects  that  address  the  needs  of  a  specific 
agency;  and  2)  field-wide  projects,  which 


serve  the  needs  of  a  field,  and  which  might 
be  brought  by  an  aggregate  or  consortium  of 
agencies.  The  fund  recommends  a  "ceiling" 
of  $50,000  per  year  for  grant  requests  and 
encourages  requests  with  multiple  sources 
of  matching  support.  Visit  the  National 
Foundation  for  Jewish  Culture  Web  site  for 
complete  program  information.  Deadline: 
July  14,  2005. 

VSA  ARTS,  an  international  nonprofit  organi- 
zation dedicated  to  the  participation  of  peo- 
ple with  disabilities  in  the  arts,  has 
announced  "Shifting  Gears,"  an  annual  call 
for  art  and  juried  exhibit  made  possible  with 
the  support  of  Volkswagen  of  America,  Inc. 
Now  in  its  fourth  year,  the  program  will  dis- 
tribute $60,000  in  cash  awards  (including  a 
grand  prize  of  $20,000)  to  a  total  of  fifteen 
finalists  with  disabilities.  Finalists  will  be 
selected  on  aesthetic  merit  alone.  Visit 
www.vsarts.org  for  more  information. 
Application  deadline:  July  15,  2005. 

WIGGLYW0RLD  GRANTS  offers  three  distinct 
grant  programs.  Each  program  is  designed  to 
help  ease  the  financial  burden  of  making  a 
film,  allowing  the  filmmaker  to  more  fully 
pursue  artistic  goals.  The  Roll  Camera  Grant 
provides  grantees  with  use  of  WigglyWorld's 
16mm  production  package;  the  Out  of  the 
Can  Grant  provides  this  same  access  plus 
the  use  of  the  organization's  16mm  analog 
post-production  facilities;  the  New  Model 
Edit  grant  provides  access  to  a  non-linear 
post-production  suite,  and  there  are  also  pro- 
grams granting  financial  assistance  for  insur- 
ance and  rentals.  Washington  State  resi- 
dents only.  Northwest  Film  Forum  and 
Wiggly  World  Studios,  1515  12  th  Ave, 
Seattle  WA  98122,  T:  (206)  329-2629,  Fax: 
(206)  329-1193,  www.nwfilmforum.org/wig 
glyworld/grants.shtml.  Call  for  next  deadline. 

WOMEN  MAKE  MOVIES  is  putting  together  a  list 
of  women  looking  for  projects  to  produce  or 
co-produce.  We  often  get  request  from  our 
filmmakers  from  around  the  world  for  sugges- 
tions for  an  American  producer  or  co-producer 
and  would  love  to  help  facilitate  relationships 
and  bring  skilled  professionals  to  great  proj- 
ects! If  you  would  like  to  be  on  this  list,  please 
send  you  name,  contact  information  and  brief 
bio  (including  current  projects,  specify  narra- 
tive or  doc)  to:  fsprogram@wmm.com. 


MICROCINEMA  /  SCREENING 
SERIES 

FILM  AND  VIDEO  825  Series  of  bi-monthly 
screenings  of  locally,  nationally  and  interna- 
tionally recognized  film  and  video  artists' 
work,  providing  a  forum  for  presenting 
experimental  film  and  video  in  Los  Angeles. 
In  a  city  dominated  by  Hollywood,  venues 
such  as  ours  become  a  necessity  for  artists 
working  in  time-based  media  that  is  outside 
the  mainstream  of  narrative  cinema.  Our 
curatorial  vision  is  open  to  both  shorts  and 
features  in  experimental,  performance, 
animation,  and  documentary  forms. 
FilmA/ideo  825,  Gallery  825/LAAA,  825  N.  La 
Cienega  Blvd.,  Los  Angeles,  CA  90069,  T: 
(310)  652-8272,  Fax:  (310)  652-9251, 
gallery825@laaa.org,  www.laaa.org/calen 
dar/film_video.html. 

ROOFTOP  FILMS  summer  series  is  underway 
every  Friday  at  the  Automotive  High  School: 
50  Bedford  Ave  [at  Lonmer,  in  Williamsburg 
Brooklyn]  and  Saturdays  [through  July  16th] 
on  the  roof  of  the  Old  American  Can  Factory 
at  232  3rd  St.  [Gowanus/Park  Slopel.  Special 
Shows  Monday  July  4  and  Thursday  August 
4.  For  information,  please  visit  www.rooftop 
films.com  or  email  Dan  Nuxoll,  programming 
director,  at  submit@rooftopflims.com. 

BROADCAST  /  CABLECAST 

THE  DOCUMENTARY  CHANNEL  is  a  new  digital 
cable  channel  dedicated  to  airing,  exclusive- 
ly, the  works  of  the  independent  documen- 
tary filmmaker.  There  isn't  a  single  type  of 
documentary  that  they  will  not  show,  and 
they  are  not  afraid  of  controversy.  That  said, 
they  prefer  the  edgier,  more  personal  films 
that  tell  a  story  and  that  show  something 
in  a  unique,  visual  manner.  See  the  website 
for  submission  instructions.  Submissions 
accepted  on  a  rolling  basis.  Please  visit 
http://documentarychannel.com/index.htm 
for  more  information  or  programs@docu 
mentarychannel.com. 


68  The  Independent  I  July/August  2005 


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4TH  ANNUAL  BARE  BONES  SCRIPT-2-SCREEN 
FEST&  SCREENWRITERS  CONFERENCE  in  Tulsa, 
OK  is  looking  for  independent  screenwriters 
&  filmmakers  to  enter  competition  in  variety 
of  categories:  feature  screenplays  &  movies, 
short  movies  &  screenplays,  teleplays,  trail- 
ers, doc,  animation,  actor  monologues, 
Shoot  'N  OK  location  micro-screenplay  will 
get  produced.  Submission  Deadline  for  the 
Festival,  which  will  take  place  between 
October  13-16  is  July  31,  2005.  For  more 
details  email  script2screenfest@yahoo.com 
or  visit  www.script2screenfilmfestival.com. 

6TH  ANNUAL  DV  FILM  FESTIVAL  takes  place 
December  2005  during  the  week  of  Digital 
Video  Expo  West  in  Los  Angeles.  Established 
in  2000,  the  DV  Film  Festival  celebrates 
emerging  talent  by  screening  independent 
digital  films  with  intriguing  subject  matter, 
robust  scripts,  and  foresights  that  push  the 
digital  envelope.  We  only  accept  entries  shot 
in  digital  video  or  high-definition  formats.  We 
do  not  accept  entries  that  already  have  a  the- 
atrical distribution  deal  in  place.  We  do  not 
accept  works  in  progress.  Feature  entries 
must  be  AT  LEAST  80  minutes  in  length. 
Short  entries  must  be  15  MINUTES  or  less. 
Final  selections  will  be  exhibited  at  the  2005 
DV  Film  Festival  held  the  week  of  DV  Expo 
West  2005  in  Los  Angeles,  California.  For 
more  info,  see  www.dvexpo.com/film  fest/. 
Reduced  fees  for  entries  submitted  by  1st 
August  2005. 

CELLULOID  SOCIAL  CLUB  is  a  monthly  screen 
ing  series  in  Vancouver  featuring  the  best  in 
independent   provocative   short   &   feature 


films  &  videos  followed  by  fun  &  frolic. 
Hosted  by  Ken  Hegan  at  the  ANZA  Club,  #3 
West  8th  Ave.,  Vancouver,  BC.  No  minors. 
Prizes  galore.  For  more  info  call  (604)  730- 
8090  or  email  celluloid@shaw.ca; 
www.CelluloidSocialClub.com. 

HORROR  FILM  CONTEST.  The  Hollywood 
Investigator  seeks  short  &  feature  horror 
films  for  its  annual  NO  ENTRY  FEE  contest. 
Deadline:  mid-October.  Films  arriving  after 
that  are  considered  for  next  year's  contest. 
Details:  www.hollywoodinvestigator.com/tin 
sel/horrorcontest.htm  www.hollywoodmves 
tigator.com/tinsel/horrorcontest.htm. 

OCULARIS  provides  a  forum  for  film  &  video 
makers  to  exhibit  their  work  at  Brooklyn's 
Galapagos  Art  &  Performance  Space.  All 
works  are  considered  for  programming  in  the 
weekly  series,  travelling  programs  &  other 
special  projects.  Local  film/video  makers  can 
submit  works  under  15  mm.  to  Open  Zone,  a 
quarterly  open  screening.  Nat'l/int'l  works  & 
medium  length  works  (15-45  mm.)  will  be 
considered  for  curated  group  shows.  For  sub- 
mission guidelines  &  other  info,  visit 
www.ocularis.net;  shortfilms@ocularis.net. 

STREET  MOVIES!  is  a  year-round  screening 
series  presented  by  Philadelphia's  Scribe 
Video  Center.  Free  series  tours  Philly  neigh- 
borhoods throughout  the  year  &  offers  a  pro- 
gram of  indy  cinema  to  the  general  public  w/ 
a  forum  for  dialogue.  Prefer  social  issue, 
thought-provoking  work  of  any  genre  or  style 
as  well  as  kid-friendly  pieces.  Must  be  under 
60   mins   &  will    receive  an   honorarium    if 


selected.  Founded:  1997.  Send  1/2"  VHS 
or  DVD  w/  synopsis  and  contact  info.  Contact: 
Phil  Rothberg,  Program  Coordinator;  215-222- 
4201 ;  stmovies@scnbe.org;  www.scribe.org. 

THE  TERRURIDE  STUDENT  SYMPOSIUM  is  part 
of  the  Telluride  Film  Festival  (Sept.  2-5)  held 
in  Telluride,  CO  and  seeks  "a  cross-section  of 
the  college  and  university  student  population 
to  attend  a  rigorous,  free-form  program  of 
screenings  and  discussions  of  film."  College 
students  studying  in  any  program  major  eligi- 
ble; only  50  students  selected  nationwide. 
Symposium  participants  awarded  a  $200 
stipend  and  entry  into  festival's  opening  night 
and  other  events.  Travel,  lodging,  and  other 
ancillary  cost  are  not  provided.  Applicants 
must  submit  essay  and  one  instructor  or  advi- 
sor recommendation.  Late  Deadline:  July  1 5, 
2005.  Please  visit  http://tellundefilmfesti 
val.com  for  more  information. 

VERSUSMEDIA  is  seeking  entries  for  their  first 
ever  "Film  Versus  Music"  ten  minute  film 
short  contest  starting  on  June  1st.  Just  as 
the  name  says,  we  want  this  film  short  con- 
test to  glorify  the  usage  of  music  in  film!  It  is 
our  hope  that  this  contest  will  help  spread 
the  benefit  of  musicians  and  filmmakers 
working  together  with  a  common  goal,  expo- 
sure. Usage  of  music  in  film  can  come  from 
a  wide  range  of  film  topics  and  genres,  so  we 
are  not  requiring  a  set  theme  to  the  film  sub- 
missions. For  further  information  regarding 
this  contest,  please  visit  the  following  web- 
page.  www.versusmedia.com/contest.php. 


July/August  2005  I  The  Independent  69 


X 


1-800-611 -FILM  •  WWW.NYFA.COM 


—  ONE  YEAR  PROGRAMS 

Directing  for  Film 

Acting   for   Film 

Screenwriting   for   Film   and   TV 

3-D  Animation   and  Special    Effects 

Producing  for   Film   and   TV 

HANDS-ON  1,  4,  6  AND  8  WEEK  TOTAL  IMMERSION  PROGRAMS  AVAILABLE  AS  WELL  AS  EVENINGS: 

DIRECTING     •     PRODUCING     •    ACTING  FOR  FILM     •    SCREENWRITING 
MUSIC  VIDEOS    •    3-D  ANIMATION     •     DIGITAL  FILMMAKING    &    EDITING 


NEW  YORK  CITY 
UNIVERSAL  STUDIOS 
DISNEY-MGM  STUDIOS* 


HARVARD  UNIVERSITY 

PRINCETON  UNIVERSITY* 

SUMMER  FILMMAKING  AND  ACTING  AT  SEA* 


LONDON,  ENGLAND 

FLORENCE,  ITALY* 

PARIS,  FRANCE* 


NEW  VCCr  PILM  ACADEMY 


LONDON,  ENGLAND 

King's  College  London 

26-29  Drury  Lane,  London  WC2B  5RL 

tel  020-7848-1523  •  fax  020-7848-1443 

email:  filmuk@nyfa.com 


I  FILM  -  VIDEO  -  PRO  AUDIO 


NEW  YORK  CITY 

100  East  17th  Street 

New  York  City  10003 

tel  212-674-4300  •  fax  212-477-1414 

email:  film@nyfa.com 


camp 


UNIVERSAL  STUDIOS 

Gate  4,  Barham  Blvd.,  Lakeside  Plaza 

Los  Angeles,  California  91608 

tel:  818-733-2600  •  fax:  818-733-4074 

email:  studios@nyfa.com 


■All  workshops  are  solely  owned  and  operated  by  the  New  York  Film  Academy  and  are  not  affiliated  with  Harvard  University,  Pnnceton  University.  Universal  or  Disney-MGM  Studios.  'Summer  only. 


THANK  YOU 


The  Association  of  Independent  Video  and  Filmmakers 
(AIVF)  provides  a  wide  range  of  programs  and  services 
for  independent  moving  image  makers  and  the  media 
community,  including  The  Independent  and  a  series  of 
resource  publications,  seminars  and  workshops,  infor- 
mation services,  and  arts  and  media  policy  advocacy. 

None  of  this  work  would  be  possible  without  the 
generous  support  of  the  AIVF  membership  and  the 
following  organizations: 

We  also  wish  to  thank  the  following  individuals  and 
organizational  members: 




NYSCA 

O 

PBS 


City  of  New  York  Dept.  of  Cultural  Affairs 

Discovery  Wines 

Experimental  Television  Center  Ltd. 

Forest  Creatures  Entertainment,  Inc. 

Home  Box  Office 

The  Jewish  Communal  Fund 

John  D.  and  Catherine  T.  MacArthur  Foundation 

The  Nathan  Cummings  Foundation 

The  National  Endowment  for  the  Arts 

New  York  State  Council  on  the  Arts 

The  Norman  and  Rosita  Winston  Foundation 

PBS 

Yuengling  Beer 


BUSINESS/INDUSTRY  MEMBERS:  AL:  Cypress  Moon  Productions; 
AZ:  Ascension  Pictures;  CA:  Groovy  Like  a  Movie;  llluminaire 
Entertainment;  SJPL  Films,  Ltd.;  CO:  Pay  Reel;  CT:  Anvil 
Production;  DC:  Corporation  for  Public  Broadcasting;  FL:  Key 
West  Films  Society;  New  Screen  Broacasting;  GA:  Lab  601  Digital 
Post;  IL:  Shattering  Paradigms  Entertainment,  LLC;  MA:  Exit  One 
Productions;  MD:  NewsGroup,  Inc.;  TLF  Limited  Management; 
Ml:  Logic  Media  LLC;  NH:  Kinetic  Films;  NY:  Baraka  Productions; 
Cypress  Films;  DeKart  Video;  Deutsch/Open  City  Films; 
Docurama;  Forest  Creatures  Entertainment;  getcast.com; 
Gigantic  Brand;  Harmonic  Ranch;  Lantern  Productions;  Larry 
Engel  Productions  Inc.;  Lightworks  Producing  Group;  Mad  Mad 
Judy;  Mercer  Media;  Missing  Pixel;  Off  Ramp  Films,  Inc.;  On  the 
Prowl  Productions;  OVO;  Possibilites  Unlimited;  Production 
Central;  Range  Post;  Robin  Frank  Management;  Rockbottom 
Entertainment,  LLC;  Triune  Pictures;  United  Spheres  Production; 
OR:  Art  Institute  of  Portland;  Media  Del'Arte;  Rl:  The  Revival 
House;  VA:  Karma  Communications  Film  &  Video;  WA:  Sound 
Wise;  Two  Dogs  Barking;  Singapore:  Crimson  Forest  Films 

NONPROFIT  MEMBERS:  AR:  Henderson  State  University; 
AZ:  Pan  Left  Productions;  CA:  Bay  Area  Video  Coalition;  California 
Newsreel;  Everyday  Gandhis  Project;  Film  Arts  Foundation; 
International  Buddhist  Film  Festival;  NAATA/Media  Fund;  NALIP; 
Sundance  Institute;  USC  School  of  Cinema  and  TV;  CO:  Denver 
Center  Media;  Free  Speech  TV:  CT:  Hartley  Film  Foundation;  DC: 
American  University  School  of  Communication;  CINE;  FL:  Miami 
International  Film  Festival;  University  of  Tampa;  GA:  Image  Film 
and  Video  Center;  HI:  Pacific  Islanders  in  Communications;  IL:  Art 
Institute  of  Chicago  (Video  Data  Bank);  Community  Television 
Network;  Department  of  Communication/NLU;  Kartemquin  Films; 
IN:  Fort  Wayne  Cinema  Center;  KY:  Appalshop;  MA:  CCTV; 
Documentary  Educational  Resources;  Harvard  University, 
OsCLibrary;  LTC;  MD:  Laurel  Cable  Network;  Silverdocs:  AFI 
Discovery  Channel  Doc  Festival;  ME:  Maine  Photographic 
Workshop;  Ml:  Ann  Arbor  Film  Festival;  MN:  IFP/MSP;  Walker  Art 
Center;  MO:  dhTV;  Webster  University  Film  Series;  NC: 
Broadcasting/Cinema;  Calcalorus  Film  Foundation;  Duke 
University,  Film  &  Video  Dept.;  NE:  Nebraska  Independent  Film 
Project/AIVF  Salon  Lincoln;  NJ:  Black  Maria  Film  Festival;  Capriole 
Productions;  Freedom  Film  Society,  Inc.;  Princeton  University, 
Program  in  Visual  Arts;  NM:  Girls  Film  School;  University  of  New 


Mexico;  NY:  ActNow  Productions;  Arts  Engine;  Cornell  Cinema; 
Council  for  Positive  Images,  Inc.;  Creative  Capital  Foundation; 
Crowing  Rooster  Arts;  Dutchess  Community  College  Student 
Activites;  Educational  Video  Center;  Experimental  TV  Center;  Film 
Forum;  Film  Society  of  Lincoln  Center;  Firelight  Media; 
International  Film  Seminars;  LMC-TV;  Manhattan  Neighborhood 
Network;  National  Black  Touring  Circuit;  National  Black 
Programming  Consortium;  National  Musuem  of  the  American 
Indian;  National  Video  Resources;  New  York  University,  Cinema 
Studies;  New  York  Women  in  Film  and  Television;  Parnassus 
Works;  POV/The  American  Documentary;  RIT  School  of  Film  and 
Animation;  Squeaky  Wheel;  Standby  Program;  Stonestreet 
Studios  Film  and  TV  Acting  Workshop;  Stony  Brook  Film  Festival; 
Syracuse  University;  United  Community  Centers;  Upstate  Films, 
Ltd.;  Witness;  Women  Make  Movies;  OH:  Athens  Center  for  Film 
And  Video;  Independent  Pictures/AIVF  Ohio  Salon;  Media  Bridges 
Cincinatti;  School  of  Film,  Ohio  University;  Wexner  Center;  OR: 
Northest  Film  Center;  The  Oregon  Film  &  Video  Foundation;  PA: 
American  INSIGHT,  Inc.;  American  Poetry  Center;  Philadelphia 
Independent  Film  &  Video  Assoc.  (PIFVA);  TeamChildren.com;  Rl: 
Flickers  Arts  Collaborative;  SC:  Department  of  Art,  University  of 
South  Carolina;  South  Carolina  Arts  Commission;  TX:  Austin  Film 
Society;  Southwest  Alternate  Media  Project;  UT  Sundance 
Institute;  WA:  Seattle  Central  Community  College;  Canada:  Banff 
Centre  Library;   France:  The  Carmago  Foundation 

FRIENDS  OF  AIVF:  Angela  Alston,  Sabina  Maja  Angel,  Tom 
Basharm,  Aldo  Bello,  David  Bemis,  Doug  Block,  Liz  Canner,  Hugo 
Cassirer,  Williams  Cole,  Anne  del  Castillo,  Arthur  Dong,  Martin 
Edelstein,  Esq.,  Aaron  Edison,  Paul  Espinosa,  Karen  Freedman, 
Lucy  Garrity,  Norman  Gendelman,  Debra  Granik,  Catherine  Gund, 
Peter  Gunthel,  David  Haas,  Kyle  Henry,  Lou  Hernandez,  Lisa 
Jackson,  John  Kavanaugh,  Stan  Konowitz,  Leonard  Kurz,  Lyda 
Kuth,  Steven  Lawrence,  Bart  Lawson,  Regge  Life,  Juan 
Mandelbaum,  Diane  Markrow,  Tracy  Mazza,  Leonard  McClure, 
Daphne  McDuffie-Tucker,  Jim  McKay,  Michele  Meek,  Robert 
Millis,  Robert  Millis,  Richard  Numeroff,  Elizabeth  Peters,  Laura 
Poitras,  Robert  Richter,  Hiroto  Saito,  Larry  Sapadin,  James 
Schamus,  John  Schmidt,  Nat  Segaloff,  Robert  Seigel,  Gail  Silva, 
Innes  Smolansky,  Barbara  Sostanc,  Alexander  Spencer,  Miriam 
Stern,  George  Stoney,  Rhonda  Leigh  Tanzman,  Rahdi  Taylor,  Karl 
Trappe,  Jane  Wagner,  Bart  Weiss 


July/August  2005  I  The  Independent    71 


THE  LIST 


SURPASSING  SUBTITLES 

By  Lindsay  Gelfand 

How  and  why  do  foreign  films  feel  and  look  different  than  American  films? 


"I  believe  it  has  to  do  with  language.  Different  languages 
create  different  thought  processes  in  every  culture.  When  these 
cultures  speak  the  universal  cinematic  language — image  and 
sound — each  filmmaker  from  their  respective  culture  uses  these 
elements  in  a  different  way  to  tell  a  story." 

— Josh  Hyde,  writer/director,  Chicle 

"First  of  all,  foreign  films  are  a  misnomer  and  can't  be 
lumped  into  a  single  category  Indian  cinema  is  different  from 
Hong  Kong  cinema. ..and  on  and  on.  There  is  no  single  way  in 
which  foreign  cinema  is  aesthetically  different  from  American 
cinema.  Foreign  films,  like  American  films,  exist  to  entertain, 
inspire,  and  communicate — all  of  which  are  important  to  an 
individuals  consciousness." 

— Ari  Krepostman,  producer, 
Cineminutes:  Ten  Takes  on  New  York 

"I  believe  a  movie  is  not  [necessarily]  from  the  country  where 
it  was  shot,  but  from  the  people  that  made  it.  I  believe  a  film  or 
any  other  work  of  art  will  always  have  something  from  the  place 
that  the  people  that  made  it  are  from.  The  language  is  the  first 
thing  that  grounds  a  film  to  a  specific  place,  but  also  the  humor, 
the  way  people  talk,  the  way  the  characters  approach  situations, 
love,  fear,  death,  family.  For  example,  I  love  the  family  relation- 
ships in  Danish  movies,  or  the  dark  humor  and  irony  in  which 
Mexican  films  deal  with  death.  Audiences  can  always  relate  to 
universal  ideas,  but  it  will  always  feel  different  the  way  they  are 
approached  in  different  cultures.  The  context,  even  if  it's  in  the 
little  details  gives  local  flavor  to  films,  like  the  clothes,  the  cars, 
the  buildings.  But  in  the  end,  all  good  movies  deal  with  univer- 
sal concepts  that  anyone  anywhere  in  the  world  can  relate  to." 
— Bernardo  Loyola,  writer/director/editor,  The  Perfect  Day 

"I  think  that  foreign  films  understand  film  as  art,  therefore 


the  attention  to  formal  aesthetics  is  greater  than  that  in  North 
American  films." 

— Marta  Sanchez,  filmmaker/curator 

"The  most  prevalent  distinction  [between  foreign  and 
American  films]  that  I  observe  is  with  the  use  of  cinematic 
language  in  dealing  with  space  and  time  that  creates  a  kind  of 
displacement  in  the  overall  experience.  As  a  foreigner  feeling  in 
cultural  exile,  I  am  at  home  with  this  kind  of  'otherness.' 
Whether  emerging  from  inside  the  United  States  (culturally  for- 
eign) or  outside  (geographically  foreign),  aesthetic  'foreignness' 
can  represent  a  form  of  resistance  to  the  homogenizing  nature 
of  market-driven  cinematic  culture." 

— Louise  Bourque,  filmmaker, 
L  'eclat  du  mallThe  Bleeding  Heart  of  It 

"To  me,  ideally  foreign  film  is  the  embodiment  of  other 
voices  and  vision.  And  what  you  see  and  hear  in  foreign  films  is 
mostly  a  matter  of  difference  in  pace  and  tone,  and  a  different 
way  of  telling — the  films  not  only  sound  and  look  different,  they 
feel  different. 

Aside  from  the  obvious  differences  in  choice  of  subject  matter 
and  perspective  that  come  from  a  different  culture,  foreign  films 
seem  to  differ  from  American  films  aesthetically  in  that  they  are 
less  presentational.  By  this,  I  mean  that  [the  films  and  filmmak- 
ers] feel  less  obligated  to  show  the  audience  everything  that  is 
happening  on  screen.  They  might  frame  the  back  of  a  man's  neck 
rather  than  his  face,  allow  the  actors  to  fall  under  shadow,  or  use 
sound  rather  than  picture  to  communicate  events.  Perhaps  this  is 
related  to  American  cinema's  theatrical  heritage  and  the  idea  of 
the  proscenium.  Of  course,  there  are  always  exceptions,  and  now 
we  have  American  directors  like  Gus  Van  Sant  echoing  the 
techniques  of  the  Dardenne  brothers." 

— Sasie  Sealy,  director,  Dance  Mania  Fantastic 


72  The  Independent  I  July/August  2005 


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Volume  28  Number  7 

Cover:  Actor  Ryan  Gosling  (Tony  Barson/Wirelmage.com) 


Contents 


Upfront 


5  EDITOR'S  LETTER 

6  CONTRIBUTORS 

8  MEMBERS  IN  THE  NEWS 

9  NEWS 

Nollywood  rises;  a  film  school  helps  students  find 
jobs;  City  Lights  launches  finance  branches 
By  Nicholas  Boston 

12  UTILIZE  IT 

Tools  and  news  you  can  use 
By  David  Aim 

13  PRODUCTION  JOURNAL 

Director  Kyle  Henry  explains  the  highs  and  lows 
of  making  a  cheap  thriller  called  Room 
By  Kyle  Henry 

16  PROFILE 

Go-Kart's  Will  Keenan  becomes  a  businessman 
By  Gadi  Harel 

20  DOC  DOCTOR 

Calculating  the  need  for  archival  footage; 
best  classes  for  mid-career  filmmakers 
By  Fernanda  Rossi 

22  FESTIVAL  CIRCUIT 

The  Black-Eyed  Susans  Film  Festival 
By  Kathy  Y.  Wilson 

25  FESTIVAL  CIRCUIT 

The  Silverdocs  Summit 
By  Rania  Richardson 

28  ON  THE  SCENE 

Open  Zone:  Brooklyn's  creative  screening  series 
By  Katherine  Dykstra 

32  Q/A 

Actor  Ryan  Gosling's  paradoxical  roles 
By  Rebecca  Carroll 


Features 


36  LOOKING  FOR  FUNDS 

IN  ALL  THE  POSSIBLE  PLACES 

The  current  state  of  independent  film  financing 
By  Derek  Loosvelt 

40  PICTURE'S  UP 

The  thing  about  Picturehouse's  Bob  Berney 
By  Ethan  Alter 

44  NETFLIX 

...and  the  afterlife  of  indies 
By  Elizabeth  Angell 

48  EYES  WIDE  OPEN 

Cynthia  Lopez — P.O.V.'s  master  marketer 
By  Kate  Bernstein 

52  BOOKS 

A  new  biography  of  Spike  Lee 
Bv  Linda  Chavers 


Listings 


54  NOTICES 
58  WORK  WANTED 
60  FESTIVALS 
66  CLASSIFIEDS 

71  THANKS 

72  THE  LIST 


www.aivf.org 


September  2005  I  The  Independent    3 


THE 

in 


FILM  ANO  VIDEO  MONTH  LI 


WITN 

MEDIA 

ARCHIVE 


SEE  IT 
WITNESS     FILM  IT 
CHANGE  IT 


New  online  database  makes 
HUMAN  RIGHTS  VIDEO  more 
readily  available  for  licensing. 


www.witnessmediaarchive.org 


718-783-2000x313 
archive@witness.org 


Publisher:  Bienvenida  Matias 

[publisher@aivf.org] 

Editor-in-Chief:  Rebecca  Carroll 

[editor@aivf.org] 

Managing  Editor:  Shana  Liebman 

[independent@aivf.org] 

Associate  Editor:  Katherine  Dykstra 

[fact@aivf  org] 

Designer:  R.  Benjamin  Brown 

[benbrowngraphic@msn.com) 

Production  Associate:  Timothy  Schmidt 

[graphics@aivf.org] 

Editorial  Associate:  Lindsay  Gelfand 

[notices@aivf.org] 

Contributing  Editors: 

Sherman  Alexie,  David  Aim,  Pat  Aufderheide, 

Monique  Cormier,  Bo  Mehrad,  Cara  Men.es,  Kate  Turtle 

Contributing  Writers: 

Elizabeth  Angell,  Margaret  Coble,  Lisa  Selin  Davis, 

Matt  Dunne,  Gadi  Harel,  Rick  Harrison 

Advertising  Representative:  Veronica  Shea 

(2121  807-1400  x232.  [veronica@aivf.org] 

Advertising  Representative:  Michael  Tierno 

(212)  807-1400  x234,  [mike@aivf.org] 

Classified  Advertising:  Michael  Tierno 

(212)  807-1400  x241;  [classifieds@aivf.org] 

• 

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The  Independent 
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The  Independent  (ISSN  1077-8918)  is  published  monthly  (except 
combined  issues  January/February  and  July/August)  by  the 
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Publication  of  any  ad  in  The  Independent  does  not  constitute  an 
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AIVF/FIVF  staff'  Bienvenida  Matias,  executive  director;  Sean 
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Mehrad,  information  services  director;  Fred  Grim,  technology  con- 
sultant; Katia  Maguire  Anas,  Christopher  Bartone.  Kara  Oi  Pietro, 
Rabecca  Hoffman,  Claro  de  los  Reyes,  interns,  AIVF/FIVF  legal  coun- 
sel: Robert  I.  Freedman,  Esq ,  Cowan,  DeBaets,  Abrahams  & 
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AIVF  Board  of  Directors  Joel  Bachar,  Paula  Manley  (Secretary), 
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Thompson  (President),  Bart  Weiss 

©  Foundation  for  Independent  Video  &  Film,  Inc.  2005 
Visit  The  Independent  online  at:  www.aivf.org 


4  The  Independent  I  September  2005 


EDITOR'S  LETTER 


Dear  Readers, 

Although  by  the  time  this  issue  is  in 
your  hands  and  on  the  stands  I  will  be 
back  at  work  (because  we  operate  on  a 
two-month  lead  time  and  I'm  writing 
this  in  July),  I  do  want  to  let  you  know 
that  Shana  Liebman,  The  Independent's 
most  exceptional  managing  editor, 
stepped  in  for  me  to  edit  the  October 
issue  while  I  was  on  maternity  leave 
through  the  summer.  In  addition  to  her 
work  with  The  Independent,  Shana  is  also 
the  arts  editor  at  Heeb  magazine,  for 
which  she  runs  a  bimonthly  storytelling 
series  at  Joe's  Pub  in  New  York  City,  as 
well  as  a  freelance  writer  whose  work  has 
appeared  in  New  York  magazine,  the  New 
York  Observer,  Salon,  and  the  Village 
Voice.  I  was  delighted  to  leave  the  maga- 
zine in  her  hands  and  am  confident  that 
we  will  see  a  fantastic  October  issue. 

For  this  issue,  we  looked  at  the  great 
(and  growing)  Goliath  of  independent 
film  finance  and  marketing.  Frequent 
contributor  Derek  Loosvelt  talked  to  pro- 
ducers and  filmmakers  about  what  it  real- 
ly takes  to  make  an  independent  film  you 
can  feel  proud  of,  that  doesn't  feel  rushed 
or  compromised — and,  of  course,  where 
and  how  to  find  the  money  to  do  that 
without  going  into  personal  debt  straight 
out  of  the  gate.  Producer  Alexis 
Alexanian  of  Elixir  Films  emphasizes  the 
importance  of  filmmakers  taking  their 
time:  "People  are  jumping  in  too 
early... A  solid  foundation  is  essential," 
she  says.  While  producer  Maggie  Renzi, 


who  has  produced  well  over  a  dozen  films 
including  most  of  those  made  by  John 
Sayles,  agrees:  "With  so  many  self-fund- 
ed films,  producers  and  distributors  have 
so  much  product  to  choose  from  that 
they  don't  think  they  have  to  get  in  [on 
the  financing]  early."  (page  36) 

Can  Bob  Berney  be  stopped?  Is  he  just 
going  to  keep  churning  out  one  insanely 
well-marketed  independent  film  after 
another?  What's  his  secret?  Ethan  Alter, 
new  to  The  Independent,  talked  with 
Berney  and  some  of  the  folks  who  have 
worked  with  him.  From  what  Alter  was 
able  to  gather,  it  doesn't  seem  that  Berney 
has  a  secret  so  much  as  just  a  God-given 
talent  for  spotting  great  films  and  getting 
them  seen,  which  seems  kind  of  unfair  but 
also  slightly  awe-inspiring  too  (page  40). 

It  may  seem  like  part  of  the  marketing 
theme  to  put  a  good  looking  actor  on  the 
cover,  but  Ryan  Gosling  is,  at  25,  already 
a  veteran  actor  of  independent  films — 
starting  with  his  eerily  riveting  and  pitch 
perfect  performance  in  The  Believer 
(2001),  followed  by  tour-de-force  per- 
formances in  The  Slaughter  Rule  (2002) 
and  The  United  States  of  Le 'land  (2003). 
Next  month  he  appears  in  Stay,  directed 
by  Marc  Forster  {Monster's  Ball,  2001), 
and  written  by  David  Benioff  (25th 
Hour,  2002).  I  sat  down  to  talk  with 
Ryan  during  the  4th  of  July  weekend,  in 
Brooklyn — where  he  was  filming  another 
independent,  Half  Nelson,  with  directors 
Ryan  Fleck  and  Anna  Boden,  whose 
short  film  Gowanus,  Brooklyn,  on  which 
Half  Nelson  is  based,  took  home  the 
Grand  Jury  Prize  for  short  filmmaking  at 
Sundance  2004. 

Also  in  this  issue,  Linda  Chavers 
reviews  a  new  book  about  Spike  Lee  and 
40  Acres  and  a  Mule  Filmworks,  Kate 
Bernstein  profiles  the  remarkable 
Cynthia  Lopez  of  P.O.V.,  and  Elizabeth 
Angell  gets  the  back  story  on  Netflix. 

Enjoy  and  thanks  for  reading 
The  Independent, 
Rebecca  Carroll 


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September  2005  I  The  Independent     5 


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Contrib 


ETHAN  ALTER  is  a  New  York-based 
film  critic  and  journalist  whose  work  has 
appeared  in  a  variety  of  publications, 
including  Entertainment  Weekly,  TV  Guide, 
and  FHM.  He  regularly  reviews  movies  for 
Film  Journal  International  and  Cineman 
Syndicate,  as  well  as  on  his  website, 
www.nycfilmcritic.com. 

DAVID  ALM  teaches  film  history  and 
writing  at  two  colleges  in  Chicago.  His  writ- 
ing has  appeared  in  ArtByte,  Camerawork, 
RES,  Silicon  Alley  Reporter,  SOMA,  and  The 
Utne  Reader.  He's  also  contributed  to  books 
on  web  design  and  digital  filmmaking,  and 
assisted  in  making  documentaries  about 
architecture  and  garbage. 

ELIZABETH  ANGELL  is  a  freelance 
writer  living  in  New  York.  She  recently 
received  an  MFA  in  creative  writing  from 
Columbia  and  is  at  work  on  her  first  book. 

KATE  BERNSTEIN  is  a  television 
producer  who  has  created  programming 
for  Bravo,  VH1,  Metro  TV,  and  Channel 
4  UK.  She  has  written  about  film,  music, 
and  popular  culture  for  a  variety  of  maga- 
zines. Her  short  film,  Ladies  Room,  was 
recently  released  on  DVD  by  Indican 
Pictures.  Kate  received  her  BA  from 
Swarthmore  College  and  her  MA  from 
NYU,  both  in  cinema  studies.  She  was 
born  in  Moscow,  Russia  and  raised  in 
Brooklyn,  New  York. 

NICHOLAS  BOSTON  is  a  frequent 
contributor  to  The  Independent.  He  is  an 
assistant  professor  of  journalism  and  mass 
communications  at  Lehman  College  of 


the  City  University  of  New  York  and 
appears  regularly  on  various  media  as  a 
commentator,  most  recently  NBC 
Channel  4,  New  York 

LINDA  CHAVERS  graduated  from 
^^^^^^^^^^^      New       York 
i^^  University 

^^^L  one  year  ago 

B  and  is  a  bud- 

*|^^        ?^Pt.   ~  ^'n8  freelance 

WmSw        ^JEl*  writer       and 

cube  monkey 
at  The  New  York  Times  Magazine.  She  has 
written  for  Publishers  Weekly,  Paper  maga- 
zine and  does  regular  book  reviewing  for 
NewPages.com.  She  is  also  a  volunteer 
with  SAVI  Advocates,  a  sexual  assault  and 
domestic  violence  program  in  New  York 
City.  Check  out  www.northamerican 
negro.blogspot.com. 

KATHERINE  DYKSTRA,  The 
Independents  associate  editor,  is  also  a 
contributor  at  The  New  York  Post  and  a 
freelance  writer  and  editor.  Her  work 
has  appeared  in  Time  Out  New  York, 
Fodor's  travel  guides,  Redbook,  and 
Ironminds.com.  She  is  a  recent  graduate 
of  The  New  School  University's  nonfic- 
tion  MFA  program.  And  she  spends 
Wednesday  afternoons  teaching  creative 
writing  to  the  coolest  kids  in  Harlem. 

GADI  HAREL  is  an  award-winning 
filmmaker  and  writer  living  in  Los 
Angeles.  In  addition  to  The  Independent, 
his  writing  has  appeared  in  InStyle  and 
The  New  York  Observer.  To  learn  more 
about  his  latest  project,  check  out 
www.modernconman.com. 


6  The  Independent  I  September  2005 


utors 


KYLE  HENRY  has  directed  two  feature 
docs:  American  Cowboy,  a  1998  Student 
Academy  Award  winner,  and  1999s 
University,  Inc.  about  the  corporatization  of 
the  largest  university  in  America,  which 
played  at  over  75  colleges,  museums,  and 
media  arts  centers  as  part  of  the 
McCollege  Tour — underwritten  in  part  by 
filmmakers  Michael  Moore  and  Richard 
Linklater.  His  short  N.ew  York  Casino 
won  Best  Experimental  Short  at  SXSW  in 
2003  and  toured  international  museum/ 
arts  centers  as  part  of  the  Black  Maria  Film 
&  Video  Festival,  Un-American,  and 
Itinerant  Cinema  tours.  Room,  his  feature 
debut,  had  its  national  premiere  at 
Sundance  and  international  premiere  at 
The  Director's  Fortnight  of  Cannes  this 
year.  He  is  also  a  working  editor  of  such 
films  as  Manito,  Troop  1500:  Girl  Scouts 
Behind  Bars,  and  Learning  to  Swallow. 

DEREK  LOOSVELT  is  a  writer  and 
editor  living  in  Brooklyn.  He  holds  a  BS 
in  economics  from  the  University  of 
Pennsylvania  and  an  MFA  in  creative 
writing  from  The  New  School. 

RANIA  RICHARDSON  is  a  New 
York-based  freelance  writer  who  focuses 
on  independent  film.  She  is  the  editor  of 
the  AIVF  Guide  to  Film  &  Video 
Distributors.  She  began  her  career  at  Time 
magazine  in  the  production  of  interna- 
tional editions  and  has  worked  in  theatri- 
cal film  distribution  for  foreign  and  inde- 
pendent pictures. 


FERNANDA  ROSSI,  known  as  the 
Documentary  Doctor,  is  a  filmmaker  and 
story  consultant  who  helps  filmmakers 
craft  the  story  structure  of  their  films  in  all 
stages  of  the  filmmaking  process.  She  has 
doctored  over  100  documentaries  and  fic- 
tion scripts  and  is  the  author  of  Trailer 
Mechanics:  A  Guide  to  Making  Your 
Documentary  Fundraising  Trailer.  For  more 
info:  www.documentarydoctor.com. 

KATHY  Y.  WILSON  has  been 
Cincinnati's  Sapphire-in-residence  since 
the  race  riots  of  2001. 
Wilson's  award-win- 
ning, now-defunct 
column  "Your  Negro 
Tour  Guide"  (now 
collected  in  Your 
Negro  Tour  Guide: 
Truths  in  Black  and 
White,  2004,  Emmis 
Books),  and  her 
National  Public  Radio 
commentaries  on  "All 
Things  Considered" 
put  the  city — and 
now  the  nation — on  notice.  She  is  a 
senior  writer  and  editor  for  CityBeat, 
Cincinnati's  alternative  newsweekly.  Her 
poems  and  columns  have  been  published 
by  On  the  One,  Newsday,  and  Shelterforce. 
The  Ohio  Associated  Press,  the 
Association  of  Alternative  Newsweeklies, 
the  Society  of  Profess-ional  Journalists, 
and  the  Knight  Center  for  Specialized 
Journalism  at  the  University  of  Maryland 
have  all  honored  her  work.  Her  next 
book  is  a  mediation  on  black  fathers  and 
daughters  called  The  Pimp  in  the 
Background. 


Correction:  The  first  paragraph  of 
Sasie  Sealy's  response  in  "The  List"  in 
the  July/August  issue  should  have 
been  attributed  to  Louise  Bourque. 
We  apologize  for  this  mistake. 


Czech  Dream  by  Vit  Klusak,  Filip  Remunda,  Czech 
Republic.  Golden  Gate  Award,  Best  Documentary 
Feature  (SFIFF  2005). 


SF INTL  FILM 

FESTIVAL  NO.  49 

APRIL  20-MAY  4, 2006 

CALL  FOR 

ENTRIES 

ENTER0NLINEWWW.SFFS.ORG 


The  San  Francisco  International  Film  Festival, 
committed  to  celebrating  the  art  of  the 
moving  image,  has  presented  the  best  in 
world  cinema  since  1957. 

Golden  Gate  Awards 
Competition 

Cash  and  in-kind  prizes  and  awards  in  1 4 
categories  for  documentaries,  shorts, 
animation, experimental, youth-produced  and 
television  works.  For  info: gga@sffs.org. 

Narrative  Feature  Entries 

First  features  eligible  for  $10,000  Skyy  Prize. 
For  info:  programming@sffs.org. 

Audience  awards  for  documentary  and 
narrative  features. 

DEADLINES 

PRIMARY 

5:00  pm  PST,  Friday,  November  1 1 ,  2005 

FINAL 

5:00  pm  PST,  Friday,  December  9, 2005 

SAN  FRANCISCO 
FILM  SOCIETY 

39  Mesa  Street,  Suite  110 
The  Presidio 

San  Francisco,  CA  94129  USA 
FAX:  415-561-5099 


September  2005  I  The  Independent    7 


JONATHAN  SKURNICK 

Filmmaker 

Vineyard  Haven,  Massachusetts 

Member  Since:  1995 

Jonathan  Skurnik's  documentary  short 
The  Elevator  Operator  (2004)  screened  at 
Maryland  Film  Festival's  opening  night 
series  of  short  docs  in  May,  played  at  New 
York  City's  Exit  Art  in  Hell's  Kitchen  as  part 
of  their  "Other  America"  show  in  March 
and  April,  and  screened  at  IFP's  Buzz  Cuts 
in  March.  Skurnik  recently  wrote  and 
directed  his  first  dramatic  short  film 
and  was  awarded  a  month-long 
screenwriting  fellowship  at  the 
Writers'  Colony  at  Dairy  Hollow  in 
Eureka  Springs,  Arkansas  in  April 
and  May  Skurnik  and  Jeff  Shames's 
documentary  short,  Spit  It  Out 
(2004),  about  stutterer  Jeff  Shames' 
journey  of  self  acceptance,  won 
awards  in  2005  at  North  America's 
two  most  important  disabilities 
film  festivals:  Picture  This  in 
Alberta,  Canada,  and  Superrest 
in  Berkeley,  California. 


January,  2001,  and  went  on  to  receive  three 
Independent  Spirit  Award  nominations, 
including  the  coveted  John  Cassavetes 
Award.  About  the  film,  Stephen  Holden  of 
The  New  York  Times  wrote,  "...mercilessly 
gritty... [with]  scenes  so  real  they  hurt." 
Hart  Sharp  Video  recently  released  Acts  of 
Worship  on  DVD,  which  is  currently  on  the 
Amazon.com  recommended  list. 


BILL  LICHTENSTEIN 
Lichtenstein  Creative  Media 
Cambridge,  Massachusetts 
Member  Since:  2004 

The  John  Simon  Guggenheim  Memorial 
Foundation  has  named  Bill  Lichtenstein  a 
2005  Guggenheim  Fellow.  Lichtenstein  is 
president  of  the  Peabody  Award-winning 
Lichtenstein  Creative  Media,  a 
Cambridge-based  independent  media 
production  company  that  works  in 
film,  TV,  and  radio.  LCM's  produc- 
tions, which  include  the  National 
Public  Radio  series,  "The 
Infinite  Mind,"  focus  on 
health,  human  rights,  and 
other  social  issues. 

ABIGAIL  CHILD 

Filmmaker 

New  York,  New  York 

Member  Since:  2001 


MICHAEL  CAPLAN 
Montrose  Pictures 
Chicago,  Illinois 
Member  Since:  1992 


Members 

in  the  news 


Michael  Caplan's  personal 
documentary  Stones  from  the  Soil  premiered 
in  over  70  markets  on  PBS  this  May.  The 
film  explores  the  impact  of  Gross  Breesen,  a 
Jewish  school  in  1930s  Germany  that  saved 
150  Jewish  teenagers  from  the  Holocaust, 
including  Caplan's  own  father,  Rudolph. 
The  younger  Caplan  is  working  with  a  con- 
sultant to  develop  a  curriculum  to  accom- 
pany the  film.  He  plans  to  target  it  to  the 
educational  market,  "starting  with,  but  not 
exclusively,  Jewish  schools  and  community 
organizations  and  synagogues." 

ROSEMARY  RODRIGUEZ 

Filmmaker 

New  York,  New  York 

Member  Since:  1996 

Rosemary  Rodriguez  wrote,  directed, 
and  produced  Acts  of  Worship,  which  pre- 
miered at  the  Sundance   Film   Festival   in 


DON  BERNIER 
Mimetic  Media 
Brooklyn,  New  York 
Member  Since:  1999 

Don  Bernier's  documentary  In  a 
Nutshell:  A  Portrait  of  Elizabeth  Tashjian 
received  a  NYSCA  distribution  grant  in 
June.  After  screening  at  the  Slamdance  Film 
Festival  in  January,  Nutshell  went  on  to 
screen  at  several  other  festivals  throughout 
the  year  including  the  Independent  Film 
Festival  of  Boston,  the  Maryland  Film 
Festival  in  Baltimore,  the  San  Francisco 
Documentary  Film  Festival,  and  the  Los 
Angeles  Film  Festival.  The  film's  subject,  the 
Nut  Lady  was  featured  in  the  "Talk  of  the 
Town"  section  of  the  April  18,  2005  issue  of 
The  New  Yorker. 


Abigail  Child  has  been 
accepted  as  a  2005-2006 
fellow  at  the  Radclilfe 
Institute  for  Advanced 
Study  at  Harvard 

University,  where  she  will 
work  on  her  film,  The 
Suburban  Trilogy:  Part  3 
"Surf  -v  Turf 


And,  finally,  the  following  AIVF  mem- 
bers/filmmakers are  recipients  of  the  2005 
$50,000  Pew  Fellowships,  granted  to  thir- 
teen Philadelphia-based  artists. 

BARBARA  ATTIE 

Bala  Cynwyd,  Pennsylvania 

Member  Since:  1991 

JANET  GOLDWATER 
Philadelphia,  Pennsylvania 
Member  Since:  2001 

CHERYL  HESS 
Philadelphia,  Pennsylvania 
Member  Since:  1995 

FILMON  MEBRAHTU 
Philadelphia,  Pennsylvania 
Member  Since:  2004 


8  The  Independent  I  September  2005 


www.aivf.org 


BUSINESS  REPLY  MAIL 


FIRST-CLASS  MAIL 


PERMIT  NO.  6990 


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NEWS 

Nollywood  Rising 

The  Nigerian  film  industry  convenes  for  progress 


By  Nicholas  Boston 

Film  industries  around  the  world 
seem  fated  to  endure  comparison,  if 
in  name  only,  to  Hollywood.  India's 
flamboyant  silver-screen  capital  Bombay 
(now  Mumbai)  is  credited  with  being  the 
worlds  second  largest  producer  of  films, 
hence  dubbed  "Bollywood."  Now  in 
Nigeria,  the  rapidly  expanding  digital- 
video  motion  picture  business,  producing 
over  300  titles  a  year  with  huge  commer- 
cial success  across  Africa  and  among 
Nigerian  diasporics  in  the  United  States, 
has  acquired  its  own  emulative  moniker: 
"Nollywood." 

From  June  13  through  17,  the  first 
annual  convention  devoted  to  the 
Nigerian  commercial  film  industry 
"Nollywood  Rising,"  took  place  at  the 
Hilton  Los  Angeles  in  Universal  City.  The 
event,  organized  by  Nigerian-born  profes- 
sors in  the  departments  of  art  history  and 
film  studies  at  the  University  of  California 
Santa  Barbara,  brought  Nigerian  filmmak- 
ers into  contact  with  American  distribu- 
tors, investors,  and  fellow  independent 
filmmakers.  Director  John  Singleton  {Boys 
in  the  Hood,  1991;  Shaft,  2000)  was  a  spe- 
cial guest.  Though  roughly  hall  the  speak- 
ers present  were  academics  fascinated  by 
the  phenomenon  itself. 

"This  is  a  pan-African  ideal  at  this  point 
in  time,"  says  organizer  Dr.  Sylvester 
Ogbechie,  a  professor  of  art  history. 
"Nigeria  is  the  largest  black  nation  in  the 
world  and  the  only  film  industry  in  the 
world  controlled  by  black  people,  where 
black  people  green-light  the  productions 


Convention  attendees  (l-r)  Judy  Pace,  Akosua  Busia,  Sylvester  Ogbechie,  Unidentified,  Beverly 
Todd,  and  Segun  Oyekunle  (courtesy  of  Sylvester  Ogbechie) 

and  have  full  say  in  distribution.  It  is  rein-  "Nollywood  films  have  become  a 
vigorating  the  diaspora  and  holds  enor-  dominant  media  form  all  over  the 
mous  potential  for  black  populations  African  continent,  certainly  in  all 
internationally."  Anglophone  countries — Kenya,  Sierra 
The  roots  of  Nollywood  stretch  back  to  Leone,  South  Africa — and  are  beginning 
1992  when  Chris  Obi-Rapu,  an  aspiring  to  cross  over  into  Francophone  Africa 
filmmaker  with  modest  resources,  released  despite  language  barriers,"  says  Dr.  Brian 
a  home  video  production  called  Living  in  Larkin,  an  anthropologist  at  Columbia 
Bondage.  The  film  drew  unexpected  University  and  guest  speaker  at  the  con- 
enthusiasm  from  the  general  public  and  vention.  Larkin  reported  that  while  hard 
triggered  a  trend  in  moviemaking  on  and  fast  numbers  are  difficult  to  ascer- 
video.  A  cottage  industry  took  off  at  the  tain,  attendees  at  the  convention  deliv- 
endof  the  1990s  when  films  sold  in  locales  ered  strong  anecdotal  evidence  of  the 
as  informal  as  market  stalls  began  to  be  films'  proliferation.  "The  producer 
exported  to  other  countries  in  Africa.  Charles  Igwe  said  at  the  conference  that 
Informal  estimates  place  annual  profits  at  600,000  Video  Compact  Disks  (VCD) 
$300  million.  are  pressed  every  day  in  Lagos  and  that 


September  2005  I  The  Independent    9 


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crates  and  crates  leave  on  planes  every 
day  for  all  over  Africa,"  he  says. 

The  movies'  storylines  often  involve 
sorcery  and  include  images  or  references  to 
ritual  sacrifices.  In  2002,  a  New  York  Times 
correspondent  reporting  from  Nolly- 
wood's  epicenter  in  the  Surulere  district  of 
Lagos,  noted  that  one  breakthrough  film, 
/  Hate  My  Village,  dealt  with  cannibalism; 
promotional  material  for  the  film  shows 
the  lead  actor  chewing  on  what  was  sup- 
posed to  be  human  flesh.  Debate  arose  at 
the  conference  over  the  admissibility  of 
these  types  of  images.  Most  of  the 
Nigerian  filmmakers  and  producers 
brushed  off  criticism  that  such  images 
might  be  offensive,  saying  audiences  in 
Nigeria  are  genuinely  interested  in  these 
themes.  "We  possess  the  Nigerian  audi- 
ence. There  is  no  question  about  that," 
Igwe  reportedly  stated. 

In  an  interview,  Mahen  Bonetti,  executive 
director  of  the  African  Film  Festival  and  a 
convention  speaker,  noted  the  extensive 
diversity  of  themes  across  the  Nollywood 
repertoire.  She  said  that  depending  on  the 
area  of  Nigeria  in  which  a  film  is  made,  sto- 
rylines can  range  from  "song  and  dance,  all 
love,  love,  love,"  to  "allegoric  and  stagy,"  to 
"the  melodramatic  telenovela... there  are 
many,  many  sub-genres." 

And  what  of  Nollywood's  crossover 
appeal  in  the  American  market?  "Africans 
should  not  be  chasing  Hollywood,"  says 
Bonetti.  "Hollywood  is  going  to  come  to 
us."  Bonetti  and  others  point  to  the  main 
element  that  sets  Nollywood  apart  from 
other  movie-making  industries:  technology. 

"Iranian  cinema,  Indian  cinema,  they  all 
make  their  first  cuts  in  celluloid,"  she  says. 
"The  Nigerians  are  making  straight-to- 
video  productions.  That  makes  a  big  differ- 
ence." There  are  an  estimated  57  million 
households  with  video  players  in  Nigeria, 
compared  to  a  negligible  number  of  movie 
theatres.  "Home  viewing  in  Nigeria  and 
many  other  African  countries  is  almost  on 
par  with  cinema  attendance,"  confirmed 
Ogbechie,  noting  that  pre-Nollywood 
African  cinema  tended  to  be  "auteur  film- 
making" that  was  expensive  to  produce, 
and  ended  up  screening  almost  exclusively 
at  film  festivals  outside  of  Africa. 

All  attendees  to  the  convention  agreed 
that  the  downside  to  the  accessibility  and 
speedy    production-to-release    cycle    of 


Nollywood  films  is  their  low  production 
value.  Sound  quality  is  notoriously  poor. 
The  convention  addressed  this  issue  by 
concluding  with  a  series  of  technology 
workshops  and  plans  to  revisit  the  concern 
during  future  conventions.  "Next  year,  we 
will  focus  more  on  the  practice,"  Ogbechie 
said.  "Instead  of  the  theory  of  the  practice." 

I  Want  My  SFTV 

Film  schools  are  always  trying  to  find 
ways  to  not  only  technically  and  creatively 
prepare  students  for  jobs  in  the  industry, 
but  to  help  them  get  those  jobs,  as  well. 
What's  the  use  of  providing  a  sound 
education  in  movie-making  if,  after 
graduation,  your  students  are  interviewing 
at  Target? 

Loyola  Marymount  University  School 
of  Film  and  Television  (SFTV),  which  is 
quickly  becoming  a  popular  film  school, 
has  launched  a  new  office  of  external 
affairs,  headed  by  two  accomplished 
industry  insiders:  Peter  Heller  as  director, 
and  Kathleen  Mclnnis — in  a  seat  created 
just  for  her — as  film  festival  specialist. 

But  considering  that  many  graduate 
film  schools  suffer  a  high-intentions-low- 
results  method  of  career  placement,  the 
question  arises:  What  exactly  does  this 
new  office  aim  to  accomplish? 

SFTV's  choice  of  Heller  and  Mclnnis  is 
a  good  start.  Heller,  a  veteran  independent 
producer  and  manager,  comes  to  SFTV 
after  operating  his  own  firm,  Heller 
Highwater  Productions.  His  producing 
credits  include  Like  Mike  (2002)  for  20th 
Century  Fox,  starring  Bow  Wow  and 
Morris  Chestnut,  and  Brown  Sugar  (2002) 
for  Fox  Searchlight,  starring  Taye  Diggs, 
Sanaa  Lathan,  Queen  Latifah,  and  Mos 
Def.  Heller's  management  client  list 
includes  writers  Danny  Rubin  {Ground 
Hog  Day,  1993),  Christian  McLaughlin 
("Clueless"  TV  series,  1996),  and  Brandon 
Sonnier,  ( The  Beat,  2003) — the  youngest 
director  to  premiere  a  film  at  the 
Sundance  Film  Festival.  What  he  brings  to 
the  table,  he  says,  is  meat  for  the  masses:  "I 
know  that  the  industry  is  always  hungry 
for  new  voices." 

Kathleen  Mclnnis  is  the  former  director 
of  the  Slamdance  Film  Festival — inten- 
tionally smaller  and  more  populous  than 
Sundance — which  in  its  1 1  years  has 
increasingly  attracted  major  producers  and 


10  The  Independent  I  September  2005 


distributors  looking  for  fresh  talent.  True 
to  the  mission  of  external  affairs,  Mclnnis 
will  divide  her  time  between  "festival  spe- 
cializing" at  SFTV  and  serving  on  jury 
panels  for  festivals  at  Galway,  Seattle,  and 
Toronto. 

"This  office  is  absolutely  unique,  it 
doesn't  exist  anywhere  else  in  academia," 
Mclnnis  says.  "In  this  truly  competitive 
industry,  an  extra  advantage... can  mean 
the  difference  between  a  career  making 
films  or  just  a  career." 

City  Lights 

City  Lights  Media  Group,  the  22-year- 
old  film  production  company  founded 
and  run  by  brothers  Danny,  Jack,  and  Joe 
Fisher,  is  entering  the  numbers  game.  The 
company  recently  announced  the  launch 
of  a  private  equity  unit,  City  Lights 
Pictures  Film  Fund,  to  acquire,  develop, 
and  finance  motion  pictures. 

"We  see  a  fantastic  opportunity  in  the 
marketplace  right  now,"  says  Danny 
Fisher,  CEO  of  the  New  York  City-based 
outfit.  "There  are  very  few  industry 
sources  to  go  to  for  financing.  Our  own 
financing  gives  us  the  leverage  to  partici- 
pate in  the  very  best  projects,  and  there  are 
many  independent  films  out  there  that  are 
deserving  of  financing." 

The  fund  will  have  three  financing  divi- 
sions: City  Lights  Pictures  for  budgets  from 
$3-$  12  million,  City  Lights  3000  for  films 
with  a  $1  million  ceiling,  and  City  Lights 
Uptown  (with  Wu-Tang  Clan  co-founder 
Oliver  "Power"  Grant  as  executive  produc- 
er and  former  Martin  Luther  King,  Jr. 
speechwriter  Clarence  B.  Jones  as  advisor) 
for  projects  aimed  at  the  urban  market. 

Despite  the  new  funding  unit,  the  com- 
pany will  continue  producing  films — 
including  the  supernatural  thriller 
Tamara,  from  Final  Destination  (2000) 
creator  Jeffrey  Reddick,  to  be  released  by 
Lions  Gate  later  this  year  and  the  upcom- 
ing Nicholas  Ray  biopic,  Interrupted. 

"We  are  ramping  up  all  of  our  activities 
in  our  other  divisions,  and  have  recently 
opened  a  sound  record/mix  facility  as  well 
as  an  L.A.  office  for  our  TV  company," 
Fisher  says.  "We  believe  in  an  integrated 
company  with  various  components  all 
working  together  and  supporting  each 
other.  We  feel  that  makes  our  company 
unique  in  the  industry."  "& 


James  A.  Michener  Center  for  Writers 


^J^&jSe^04?  J~U+& 


DIRECTOR 
James  Magnuson 


Combine  work  in 
with  fiction, 
poetry  or  playwriting  in  our  unique 
interdisciplinary  MFA  degree  program. 
Students  arc  fully  funded  by 
annual  fellowships  of  $17,500. 

512/471.1601    •   www.utexas.edu/academic/mcw 

RECENT  GUEST  SCREENWRITERS 

William  Broyles    •   Tim  McCanlies    •    Mark  Medoff 
Anne  Rapp    •    Steven  Soderbergh    •    F.d  Solomon 

THE  UNIVERSITY  OF  TEXAS  AT  AUSTIN 


Independent  Narrative 
Filmmakers  and  Their  Films 

On  THE  BEAUTIFUL  KoHALA  COAST  OF  HAWAIl! 


Big 

Island 

Film 

festival 


•  Independent  Narrative  Films 

•  Filmmaker  Symposiums 

•  Parties 

•  Beautiful  Beaches 

•  World  Class  Resorts 

•  Great  Weather 

•  Spirit  of  Aloha 


Call  for  entries  -  deadline:  March  i,  2006 
www.BigIslandFilmFestival.com 


■  ■  ■  ■  ■ 


September  2005  I  The  Independent     11 


[]  1ZE  IT 


Tools  You  Can  Use 


By  David  Aim 


Risky  Business 

One  of  the  most  useful  new 
tools  comes  from,  of  all  places,  a 
risk  management  and  insurance 
firm.  Last  spring,  the  Chicago- 
based  Aon  corporation  intro- 
duced an  extensively  updated 
version  of  its  Global  Filmmakers 
Map  created  for  filmmakers  whose 
projects  take  them  into  the  darkest  cor- 
ners of  our  increasingly  dangerous  plan- 
et. The  map  identifies  91  countries  as 
"high  risk"  and  details  their  respective 


2005  Risks  in  Global  Filmmaking 


Global  Filmmaker's  Map 

threats.  Though  terrorist  activity  is  a 
major  category  in  this  year's  map,  dis- 
ease, crime,  political  unrest,  and  absence 
of  medical  care  are  also  duly  noted.  Visit 
www.aon.com  for  more  information, 
and  be  safe! 

Take  Back  the  Stock 

Who  says  grassroots  campaigns  have 
to  be  political?   For  anyone  who's  not 


Avalon  Family  Boom  Poles 


quite  ready  to  trade  all  their  old  metal 
reels  in  for  a  box  of  DV  tapes,  an  effort 
on  your  behalf  is  afoot.  This  summer  the 
Rural  Route  Film  Festival,  a  New  York- 
based  organization  that 
showcases  work  addressing 
rural  life,  launched  an 
online  petition  pleading 
Kodak  to  continue  produc- 
ing its  Kodachrome  Super 
8  film  stock,  whose  popu- 
larity has  rapidly  dimin- 
ished with  the  digital  revo- 
lution. Fortunately,  this  isn't 
politics:  surely  celluloid  and 
code  can  co-exist  in  a  non- 
partisan mediascape.  To 
sign  the  petition,  visit 
www.petitiononline.com/ 
k40/petition.html. 

Raise  High  the  Boom  Pole, 
Filmmakers 

The  excuses  for  not  shooting  a 
costume  drama  atop  Mount  Everest  are 
growing  fewer  by  the  minute. 
Compared  to  their  film  counterparts, 
DV  cameras  are  feather-light. 
Unfortunately,  the  same  can't  be  said  for 
most  of  the  other  hardware  that  accom- 
panies a  major  shoot.  But  that's  chang- 


ing too.  This  year,  California-based 
filmmaking  accessories  firm  K-Tek 
lightened  the  load  with  its  new  line  of 
Avalon  Aluminum  Boom  Poles,  which 
range  from  5'9" — when  fully  extend- 
ed— and  12.5  ounces  to  9'2"  and  23.5 
ounces.  The  poles  can  be  collapsed  to  a 
quarter  their  extended  length  for  easy 
storage  and  transport.  And  they're  light 
on  the  wallet,  too:  the  poles  range  from 
just  $160  to  $255.  For  more  informa- 
tion, visit  www.mklemme.com. 

Don't  Wait  for  Miramax 

Everyone  knows  that  making  the 
movie's  the  easy  part.  Finding  distribu- 
tion is  where  things  get  tricky.  But  as 
the  indie  rock  mavens  of  the  early 
1 990s  proved,  you  don't  need  a  big  cor- 
poration to  build  a  market,  or  even  to 
deliver  the  goods.  That  said,  while 
indie  recorders  could  just  throw  an  old 
cassette  into  a  boom  box,  hit  "record," 
dub  infinite  copies,  and  ship  off  the 
tapes — producing  and  distributing 
DVDs  is  a  bit  more  complicated. 
Which  is  where  Disc  Makers,  a  New 
Jersey-based  CD  and  DVD  replication 
and  packaging  firm,  comes  in.  Disc 
Makers  will  produce  as  few  as  300 
copies  of  your  project,  complete  with 
full-color  covers,  three-color  on-disc 
printing,  DVD  cases,  and  poly  wrap 
packaging — all  for  under  $1,000.  And 
for  an  extra  $99,  the  company  will 
even  print  300  customized,  full-color 
promotional  posters.  Getting  your  film 
seen  might  be  up  to  you,  but  at  least 
it'll  be  all  dressed  up  and  ready  to  go. 
For  more  info:  www.discmakers.com.  "k 


12  The  Independent  I  September  2005 


PRODUCTION  JOURNAL 


Making 
Room 

The  highs  and 
lows  of  directing 
a  cheap  thriller 

By  Kyle  Henry 


I'm  the  director  of  the  low-budget  psy- 
chological thriller  Room  (2005),  which 
premiered  at  Sundance  and  had  its 
international  debut  in  the  Directors 
Fortnight  at  Cannes  in  May.  Room  was 
produced  by  The  7th  Floor  along  with  Jim 
McKay  and  Michael  Stipes  C-Hundred 
Film  Corp.  Our  four-week,  twenty-four- 
day  production  was  equally  divided 
between  two  weeks  in  Texas  and  two 
weeks  in  New  York  City.  The  film  centers 
on  the  mid-life  crisis  of  a  bingo  hall 
employee  and  mother  of  two  in  her  late 
40s  who  leaves  her  family  to  follow 
migraine-induced,  debilitating  visions. 
Lessons  learned: 

1 .  Lie  to  yourself  constantly  that  every- 
thing will  be  OK.  Rodney  Evans  {Brother 
to  Brother,  2004)  gave  me  the  best  advice 
before  going  into  production:  pray.  Once 
pre-production  and  financing  is  more  or 
less  in  place,  what's  the  use  of  staying  up 
late  worrying  the  night  before  the  first  day 
of  shooting?  Pray  to  your  God — or  the 
Gods  of  Cinema — that  all  will  be  well  and 
admit  that  it's  mostly  out  of  your  control 
once  the  ball  starts  rolling.  It  will  rain, 
snow,  and  sleet.  Actors  will  cancel  the  day 
(the  night!)  before  their  scenes  are  to  be 
shot.  You  cannot  freak  out.  You  must 
remain  calm.  You  are  acting  the  part  of 
director  as  much  as  your  actors  are  acting 
the  part  of  characters,  and  they  are 
depending  upon  you  to  play  your  part 
well.  So,  just  pray,  meditate,  enjoy  each 
act  of  the  circus  that  is  filmmaking. 


-a  o 
r  -a 


>-o 


■  © 

o 


2  § 


t/5  oc 

o  —i 
o  ^ 


■ 


2.  Cast  your  crew  well.  Cast  crew  like 
you  would  cast  actors — interview  them 
intensely  especially  keys.  Are  they  social- 
ly compatible?  Are  they  creative  and 
bright  people  with  interests  that  mesh 
with  your  own,  or  can  they  add  a  level  of 
contradiction  that  will  keep  you  honest? 
Are  their  references  from  trusted  sources? 
It's  cliche  but  true  that  you  are  building  a 
small  army  to  go  into  battle,  so  having  a 
combined  sense  of  mission  (and  a  good 
sense  of  humor)  will  carry  you  all 
through  the  long  hours  that  lie  ahead. 
During  the  rush  of  production,  when  my 
energy  level  was  well  past  spent,  I  can't 
even  begin  to  count  out  how  many  cre- 


ative solutions  were  offered  by  crew 
members.  One  example:  Our  New  York 
City  AD,  Bruce  Hall,  took  detailed  notes 
during  our  brief  location  scout  in  New 
York.  As  I  hurried  through  a  million  tasks 
during  pre-production,  from  rehearsing 
with  actors  to  writing  checks,  these  notes 
became  a  first  draft  that  DP  PJ  Raval  and 
I  would  recast  into  our  final  shot  list. 
Everyone's  contributions  were  encour- 
aged and  trusted,  creating  a  group 
endeavor  greater  than  any  single  direc- 
tor's vision.  Heck,  this  is  what  you  are 
hiring  people  for — their  brains  and  their 
creative  energy! 


September  2005  I  The  Independent     13 


aging  of  an  impression  will  be  cap- 
tured. We  shot  on  Panasonic  DVX100 
miniDV  cameras  with  no  lights  other 
than  practicals  and  creative  curtain 
hanging.  I  had  a  lot  to  learn  and  knew 
that,  along  with  the  actors,  we'd  need 
the  time  video  could  afford  to  discov- 
er these  moments.  There  is  nothing 
worse  than  watching  a  pretty  indie 
film  with  flat  performances.  Thank 
God  DP  PJ  Raval  is  also  a  master  cam- 
era operator  and  a  beautiful  on-the-fiy 
sculptor  of  light.  Again,  a  well-cast 
crew  should  be  trusted  and  allowed 
the  space  to  add  their  own  creativity  to 
the  project  so  that  you,  the  director, 
can  concentrate  on  building  moments 
of  life  with  the  actors. 


Room's  lead  actress  Cyndi  Williams  prepares  for  an  emotional  breakdown  in  Times  Square 
(courtesy  of  Siobhan  Walshe) 


3.  Strive  for  simplicity.  Having  worked 
as  an  editor  for  several  years,  I  knew  it 
was  my  job  to  collect  as  much  useful 
material  (good  performances,  multiple 
angles,  etc)  as  possible  for  my  own  editor. 
Without  this,  all  the  script  pages  would 
remain  a  fantasy.  I  also  wanted  to  make 


4.  No  one  will  understand  it  (not 
even  you)  until  it  is  done!  Unless  you're 
sure  to  push  actors  past  their  comfort  basing  your  work  on  formula,  no  one, 
range  toward  moments  of  discovery.  not  even  you,  will  know  if  it  will  work 
Discoveries  should  be  made  in  the  before  it  is  done.  When  pitching  your 
moment  between  the  living  human  project  (for  grants,  to  producers,  to 
beings  right  there  on  set,  and  not  in  your  investors)  you  have  to  constantly  convey 
or  the  actor's  preconception  of  the  char-  the  sense  that  yes,  of  course,  this  film  will 
acters.  Otherwise  a  stale,  lifeless  repack-       work.  Divided  as  it  is  into  two  separate 


"I  would  no  more 
FrameForge  than 

I  FrameForge  91 
I  3D  Studio6 


start  shooting  my  next  film  without  using 
I  would  start  filming  without  a  script." 

-  Johannes  Roberts,  Director,  Gotlin  Pictures 
Solve  problems  before  they  happen 

"FrameForge  3D  takes  the  guesswork  out  of  is  that  possible?  ...  for  those  who  want  to 
get  down  to  details,  FrameForge  gives  you  camera  height,  lens  settings  and  tilt  angles  for 
the  camera."  -  Kevin  Hicks,  Director 

Save  time  and  money  in  production 

"Its  simple  and  precise  graphics  and  lens-specific  angles  save  time  and  money  when  it 
comes  to  working  in  pre-production  ...  With  a  FrameForge  3D  storyboard  there  are  no 
misunderstandings."  -  Michael  Joy,  Award  Winning  Commercial  Director,  Luscious 
International 

Sell  your  vision  and  promote  your  work 

"I  was  able  to  demonstrate  to  a  director  that  his  script  was  achievable  in  the  time  and 
budget  available  ...  An  afternoon  with  FrameForge  3D  was  all  it  took."  -  Justin  Brickie, 
Cinematographer 

Have  peace  of  mind  (relatively) 

"My  first  shoot  with  printed  storyboards  created  on  FrameForge  3D,  and  I  could  almost 
have  handed  them  over  to  the  cinematographer,  and  left  him  to  it!  (I  didn't,  but  it  was 
good  to  feel  that)"  -  David  Thomas  Hickson,  Drama  /  Commercial  Director  ("Beat  the 
Drum"  -USA/South  Africa) 


Save  10%  when  you  mention  or  enter  promo 

COde  AIVF  during  Checkout.  Offer  Expires  10/31/05 


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Los  Angeles, CA  90025 


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800.272.8927 


Writers  Store 


14  The  Independent  I  September  2005 


halves,  with  the  central  character  aban-  ic,  but  let's  face  it,  the  American  media 
doning  her  family  and  known  world  in  are  not  exactly  champions  of  provocative 
the  first  half  then  transitioning  to  episod-  political  cinema  right  now  (documen- 
ic  encounters  with  surreal  and  dream-like  taries  excluded).  Most  of  my  heroes, 
apparitions  in  the  second  half,  it  is  not  a  though,  are  people  who  "speak  truth  to 
stretch  to  say  that  Room  challenges  narra-  power,"  whether  to  political  leaders  or  to 
tive  assumptions  ingrained  in  most  of  the  a  delusional  marketplace.  This  isn't  a 
heads  of  American  cinema  viewers.  I,  career-making  trait,  but  it  is  an  essential 
romantically,  believe  artists  should  help  part  of  my  sense  of  self  as  an  artist  and  a 
liberate  their  audience  from  these  person,  so  I  decided  to  stay  true  to  myself 
assumptions.  Whose  life  resembles  the  and  blow  my  career, 
three  act,  neat-and-clean  structure  of  a 

Hollywood  thriller?  Why  do  films  involv-  After   making   that   decision,    a   huge 

ing  a  female  character's  psychological  weight  lifted,  and  I  stopped  caring.  I 
journey  always  lead  to  her  death  or  to  a  stopped  caring  about  the  credit  card 
sappy  (and  unbelievable  in  a  two  hour  debt,  the  pressures  of  the  marketplace, 
movie  format)  liberation  and  transforma-  about  audience  expectations  and  just 
tion?  Where  is  the  third,  middle  path  to  decided  to  trust  my  love  for  this  little 
be  found?  Define  your  terms  for  what  beast  of  a  film.  And  I  knew  it  would  work 
works.  ...  for  me.  If  an  audience  booed,  I  would 

Rooms  producer  Jesse  Scolaro  and  score  my  own  secret  victory  through  con- 
editor  Pete  Beaud- 
reau  helped  out  with 
innumerable  solu- 
tions to  inherent 
narrative  problems 
during  post  includ- 
ing scenes  we  could 
lose,  performances 
to  massage,  the  con- 
struction of  a  com- 
plex soundscape  to 
compliment  visions. 
But  in  the  end,  cer- 
tain major  decisions 
came  down  to 
intent.  Until  the  last 
moments  before  pic- 
ture lock,  none  of  us  knew  for  sure  if  the 
pieces  would  gel  into  a  coherent  and 
moving  work  of  cinema.  Figuring  that 
out  is  the  director's  final  responsibility. 


Cyndi  Williams  encounters  the  unknown  in  Room  (Siobhan  Walshe) 


frontation.  After  all,  I  too  have  cursed 
films  I  now  cherish  because  on  first  view- 
ing I  didn't  "get  it." 

Not  only  have  audiences  responded 
warmly  to  our  experiment  at  Sundance 
5.  Take  responsibility  for  what  you've  and  Cannes,  but  the  biggest  shock  of  all 
done.. .then  jump  off  the  cliff.  I  remem-  is  that  Room  has  sold  to  one  of  the  most 
ber  being  counseled  one  evening  after  a  respected  international  sales  agents  in  the 
screening  by  colleagues  with  the  best  of  world,  Celluloid  Dreams.  Sometimes,  the 
intentions  to  change  Rooms  ending  to  Zeitgeist  rewards  the  gamblers.  As  a  film- 
something  more  concrete.  It  was  one  of  maker,  how  far  will  you  push  the  bound- 
those  moments  when  we  really  have  to  aries  of  convention  and  how  much  will 
decide  what  the  hell  we  are  doing.  I  you  change  the  preconceptions  held  both 
thought  that  by  deciding  to  keep  the  end-  by  yourself  and  your  audiences?  My 
ing  that  I  liked — the  one  I  was  sure  advice?  Really,  really,  screw  your  career  if 
would  provoke  audiences — I  was  closing  you  have  the  chance,  because  more 
the  door  on  any  sort  of  career  as  a  film-  important  things  hang  in  the  balance.  "& 
maker.  I  know  that  sounds  melodramat- 


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September  2005  I  The  Independent     15 


PROFILE 


From  Cecil  B.  to  Businessman 


Will  Keenan  &  Go-Kart  Films 


By  Gadi  Harel 


Will  Keenan  has  done  some 
crazy  things  to  promote 
movies.  He's  been  hit  by  a  car, 
threatened  self-immolation,  and  climbed 
a  water  tower  only  to  get  busted  on  the  6 
o'clock  news.  Keenan  even  once  dove 
from  a  third-floor  balcony  into  a  pool. 
But  what  he's  doing  these  days  to  pro- 
mote movies  is,  by  his  standards,  far 
scarier  than  any  rapidly  approaching 
front  bumper  or  a  50-foot  free  fall.  These 
days,  it's  all  about  spreadsheets,  managing 
interns,  and  getting  to  the  office  by  9  am. 
Will  Keenan  has  become  a  businessman. 
Anyone  who  knew  Keenan  before  he 
moved  to  Los  Angeles  from  New  York 
two  years  ago  knew  someone  who  was 
many  things — but  a  businessman  was 
not  one  of  them.  He  was  an  actor,  a 
director,  a  stunt  (and  sex)  choreographer, 


and  a  casting  agent.  In  an  underground 
soundstage  he  once  created  in  a  Brooklyn 
warehouse,  where  he  scurried  between 
taped-together  editing  consoles  and  a  row 
of  film  sets  built  from  discarded  sitcom 
flats  and  dumpster-dives,  he  was  nothing 
less  than  Cecil  B.  Demented  incarnate. 
So,  sure,  from  a  distance  this  recent 
change  may  cause  an  aspiring  filmmaker 
to  shed  a  tear  for  another  lost  soldier  in 
the  battle  for  independent  cinema.  But 
this  is  good  news.  Really.  Will  Keenan 
may  now  be  a  businessman,  but  he's  a 
businessman  who  wants  to  work  for  you. 
"When  it  comes  to  distribution,  I've 
been  burned,"  says  Keenan.  "Everyone  I 
know  who's  made  movies  has  been 
burned  ...  by  distributors,  by  labels,  you 
name  it.  So  we  created  this  company  to 
be  the  alternative." 


That  "we"  includes  Greg  Ross,  who 
started  the  successful  New  York  City 
punk  music  label  Go-Kart  Records  over 
1 3  years  ago.  And  "this  company"  is  Go- 
Kart  Films,  a  joint  DVD  distribution 
venture. 

The  two  met  while  working  on 
Trauma  Film's  1999  cult  hit  Terror 
Firmer,  which  Keenan  not  only  starred  in 
but  also  served  as  associate  producer.  "I 
hired  Greg  to  do  the  soundtrack  and  [the 
film]  did  so  poorly  that  he  said  I  owed 
him,"  recalls  Keenan.  Payback  was  pro- 
ducing what  would  be  Ross's  directorial 
debut,  the  documentary  Into  the  Night: 
The  Benny  Mardones  Story  (2002),  which 
chronicled  the  troubled  fame  of  a  one-hit 
wonder.  "It  did  well,"  notes  Keenan.  "It 
played  some  festivals  and  Wellspring 
picked  it  up  for  TV  rights.  But  when  it 


16  The  Independent  I  September  2005 


was  time  to  sell  it  to  a  distributor,  I  pret- 
ty much  had  to  break  the  bad  news  to 
Greg  and  tell  him,  'If  you  get  anything 
up  front  it's  going  to  be  very  little  and 
chances  are,  from  that  point  on,  you'll 
never  see  a  dime.'  Unfortunately,  that's  a 
common  experience  when  it  comes  to 
independent  distribution." 

Keenan  knew  what  he  was  talking 
about.  This  was  2002,  about  the  time 
Operation  Midnight  Climax  (a  comedic 
conspiracy-themed  feature  he  and  this 
writer  collaborated  on)  had  arrived  at  a 
similar  point — successful  festival  run,  a 
few  awards,  great  press,  and  distributor 
interest.  It  wasn't  difficult  for  Keenan  to 
describe  to  Ross  what  he  calls  "filmmaker 
desperation":  a  condition  whereby  you 
realize  you're  about  to  sign  away  the 
rights  to  your  film  for  little  more  than  the 
thrill  of  seeing  it  in  a  video  store  coupled 
with  the  feeling  that  you  have  no  other 
choice  and  followed  by  repeated  attempts 
to  convince  yourself  that  this  crummy 
situation  is  perfectly  okay.  Rather  than 
suffer  this  fate,  the  two  decided  to  take 
matters  into  their  own  hands. 

Shortly  after  Keenan  arrived  in 
California,  Ross's  wife  took  a  job  in  LA, 
and  in  the  spring  of  2003,  the  men  found 
themselves  in  the  same  town  again.  A 
new  city  suggested  a  new  opportunity 
and  though  "let's  just  put  these  movies 
out  ourselves"  may  have  sounded  like  a 
naive  Hail  Mary  play,  Ross  had  a  success- 
ful music  catalog  to  use  as  leverage. 
Shortly  after  settling  in  California,  Ross 
left  his  music  distributor  for  Koch 
Entertainment,  a  large  distributor  that 
handles  both  music  and  movies. 

They  made  an  announcement,  and  it 
wasn't  long  before  Keenan  heard  from 
two  New  York  acquaintances.  The  direc- 
tors Michael  Galinsky  and  Suki  Hawley 
were  having  last-second  problems  com- 
pleting a  distribution  deal  on  Horns  and 
Halos  (2002),  their  controversial  and  crit- 
ically acclaimed  documentary  about 
George  W.  Bush's  early  years.  With  the 
election  approaching,  they  knew  the  film 
needed  to  be  released  quickly.  They  also 
knew  it  had  to  be  handled  correctly,  and 
they  weren't  convinced  by  their  current 
distributor.  For  the  first  time,  Keenan 
found  himself  on  the  other  side  of  the 
desk.  "When  filmmakers  talk  to  distribu- 


tors about  a  deal,  they're  used  to  hearing 
about  this  weird  percentage  thing  that 
they  can  never  really  figure  out,"  notes 
Keenan.  "The  one  time  with  Operation 
Midnight  Climax  when  I  actually  was 
able  to  figure  it  out,  I  realized  that  we 
would  have  gotten  65  cents  or  85  cents 
per  unit  sold.  I  thought,  'Wait  a  minute, 
you're  charging  $19.98!  This  is  a  scam!'" 

As  he  begins  describing  Go-Kart  Film's 
strategy,  Keenan  leans  in  and  his  voice 
lowers,  as  if  he's  about  to  break  an  indus- 
try omerta.  "At  the  end  of  the  day,  let's 
say  distributors  get  about  six  dollars  to 
play  with  per  unit.  They're  gonna  want  to 
make  five  of  that  six.  So  they  try  to  get 
the  filmmaker  to  take  a  lot  less  by  spout- 
ing vague  percentages,"  Keenan  says. 
"And  even  if  you're  able  to  get  a  decent 
royalty  rate,  you  realize  that  the  costs 
they'll  need  to  recoup  are  just  insane.  You 
end  up  paying  for  their  paper  clips." 

Keenan  pauses  and  takes  a  deep 
breath.  He's  in  full-businessman  mode. 
"That's  why  I  call  us  the  alternative,"  he 
says.  "Our  deals  are  very  different.  If  we 
have  six  bucks  to  play  with  at  the  end  of 
the  day,  we  split  it  right  down  the  middle 
with  our  filmmakers.  If  we're  making  $3 
per  unit,  so  are  they" 

Keenan  made  the  Go-Kart  pitch  to 
Galinsky  and  Hawley,  which  resulted  in 
Horns  and  Halos  becoming  the  fledging 
company's  first  (and  still  most  successful 
to  date)  release.  "We  really  appreciate 
that  Go-Kart  stepped  in  and  helped  us 
get  the  film  out,"  Galinsky  says.  "They 
had  a  good  reach  and  really  got  the  film 
into  stores." 

In  the  eight  months  since  then,  anoth- 
er forty  have  followed  and  Go-Kart  Films 
is  now  averaging  three  to  five  releases  a 
month.  These  acquisitions  have  come 
through  various  channels;  Keenan  con- 
tinues to  mine  his  past  decade  of  cinema 
experience — meaning  he  scours  through 
the  thousands  of  business  cards  he  col- 
lected through  projects,  at  festivals,  and 
on  cross-country  travels.  He  also  uses 
"independent  contractors"  (read:  trusted 
film  types  who  are  traveling  to  festivals), 
who  keep  a  discerning  eye  out.  "If  some- 
one brings  a  film  to  us,  they  get  a  signing 
fee,"  says  Keenan.  "And  if,  in  certain 
cases,  they're  very  close  to  the  film, 
maybe  they  even  worked  on  it,  it  may 


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Soon  after  Operation  Midnight  Climax,  Keenan  (above  in  a  scene  from  the  film  which  he  co-wrote 
in  2002)  realized  the  frequent  scams  involved  in  distribution  (courtesy  of  Will  Keenan) 


maybe  they  even  worked  on  it,  it  may 
make  sense  to  cut  them  in  on  the  royalty 
rate — whether  it's  10  cents  a  unit  or  25 
cents  a  unit." 

And  with  Keenan,  deals  can  even  go 
down  simply  because  he  happened  to  be 
at  the  right  7-Eleven  parking  lot  at  the 
right  time.  Take  the  night  he  and  his 
friend  were  asked  by  a  man  living  in  a  van 
parked  next  to  them  for  a  cigarette  (they 
obliged).  As  a  thank  you,  the  smoker  gave 
them  a  sticker  for  a  new  documentary 
coming  out  of  Iraq.  The  film  was  a  com- 
pilation of  material  shot  by  Iraqis  since 
the  commencement  of  the  US  occupa- 
tion. The  man  was  Aaron  Raskin,  the 
film's  producer;  The  Dream  of  Sparrows 
(2005)  soon  became  one  of  Go  Kart's 
leading  titles. 

Of  course,  if  Go  Kart  is  enjoying  that 
kind  of  output,  it  follows  that  other  com- 
panies must  be  doing  the  same.  "Over 
250  DVDs  are  released  every  Tuesday. 
We  all  fight  for  shelf  space,"  says  Keenan. 
"It's  incredibly  tough."  But  Go  Kart  has 


an  ace  up  its  sleeve:  Koch  Entertainment. 
"Koch  pitches  the  retail  chains,  and 
they're  very  good  at  it,"  says  Keenan. 
"They've  been  doing  it  for  twenty  years 
and  have  9000  accounts  in  North 
America" — including  Blockbuster,  Best 
Buy,  Wal-Mart,  Tower  Records,  and 
Hollywood  Video — "and  then  as  a  label, 
we  reach  out  to  the  independent  stores, 
the  little  mom-and-pop  shops." 

Keenan  may  talk  a  great  business 
game,  but  he  hasn't  put  aside  the  things 
that  brought  him  to  Hollywood.  "I  still 
act  now  and  then,  and  there  are  a  bunch 
of  scripts  I'm  attached  to  as  either  a  pro- 
ducer or  talent,"  says  Keenan,  who  lives 
in  Hollywood  with  his  wife  Stefanie,  a 
photographer.  But  at  this  moment  in 
time,  everything  else  is  secondary  to  Go 
Kart.  Yes,  his  agent  thinks  he's  crazy;  so 
does  his  manager.  And  no,  this  isn't  a 
cheap  ploy  to  meet  directors,  he  promis- 
es with  a  laugh. 

But  it's  a  rare  laugh  when  he's  dis- 
cussing business.  When   Keenan  speaks 


18  The  Independent  I  September  2005 


"And  even  if  you're  able  to  get  a  decent  royalty 
rate,  you  realize  that  the  costs 
they'll  need  to  recoup  are  just  insane. 
You  end  up  paying  for  their  paper  clips." 

—Will  Keenan 


it's  with  the  true  understanding  that  a 
movie  isn't  a  can  of  soup:  it  can't  just  be 
shoved  between  other  cans  on  a  supermar- 
ket shelf.  Rather,  an  independent  film  is 
nothing  less  than  someone's  dream.  And 
any  filmmaker  will  tell  you  that  a  movie  is, 
among  other  things,  a  very  personal  diary 
of  a  set  period  of  time,  usually  years.  It 
involves  relationships,  beginnings,  end- 
ings, and  a  million  other  wonderful  and 
painful  moments  that  aren't  pictured  on 
the  screen.  How  do  you  nickel-and-dime  a 
filmmaker  over  something  like  that? 

As  we  sit  next  to  a  statue  of  Buddha  on 
the  grounds  of  Hollywood's  Self- 
Realization  Center,  which  Keenan  calls 
home,  it's  obvious  that  he  has  no  intention 


of  messing  with  filmmaker  karma. 

When  Keenan  tells  me,  "This  is  my 
job,  and  it  will  be  for  a  while,"  his  path 
appears  rather  clear,  and  there's  even  an 
echo  of  the  old  saying  that  you  can't 
know  where  you're  going  if  you  don't 
know  where  you've  been.  Will  Keenan 
certainly  knows  where  he's  been.  If 
you're  talking  to  him  about  your  film, 
chances  are  that  he  once  kicked  the  dirt 
exactly  where  you're  standing  right  now. 
"With  Go  Kart  Films,  I'm  taking 
everything  I  learned  about  publicity  and 
grassroots  and  guerilla  marketing,  and 
I'm  using  it  for  everyone  else.  It's  the  fun 
part  of  the  business  that  I  enjoyed  the 
most  when  I  was  making  films — travel- 


ing around,  trying  to  raise  awareness.  The 
goal  used  to  be  getting  people  into  the- 
aters. Now,  it's  trying  to  get  them  into 
stores,"  says  Keenan. 

This  doesn't  mean  he's  not  still  looking 
for  the  next  great  publicity  stunt.  It's  just 
that  these  days,  he  may  be  more  likely  to 
get  a  paper  cut  than  wrestle  a  crocodile  to 
promote  a  project.  Nevertheless,  he's 
more  devoted  than  ever  to  the  filmmak- 
er's plight.  And  maybe,  just  maybe, 
Keenan's  new  approach  is  not  just  safer, 
but  smarter.  •& 

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www.gokartfihns.  com. 


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September  2005  I  The  Independent     19 


the  Documentary  Doctor 


By  Fernanda  Rossi 

Dear  Doc  Doctor: 

How  can  I  calculate  how  much 
archival  footage  I'll  need  for  my  film, 
and  how  much  it  will  cost? 

Predicting  how  much  archival  footage 
you  will  use  is  like  looking  at  those  opti- 
cal illusion  drawings — you  have  to 
squint  your  eyes  for  it  to  make  sense.  But 
first,  get  a  pen  and  paper,  and  then  sign 
up  for  an  unlimited  calling  plan  and  a 
fast  Internet  connection. 

Squint  your  eyes  and  imagine  your 
film.  Is  it  a  historical  documentary  with 
narration  and  interviews  only?  Will 
archival  footage  be  adequate  coverage  or 
is  other  b-roll  available?  Will  there  be 
action/verite  footage  as  counterpoint? 
Are  re-enactments,  animation  and 
metaphorical/poetic  footage  appropriate 
for  the  project  and  to  your  liking?  For 
now,  don't  make  choices  based  on  cost — 
just  list  your  elements. 

Now  draw  a  pie  chart.  Divide  it  up 
proportionally  with  those  elements  you 
listed.  If  your  pie  reflects  that  your  film 
is  all  narration  and  interviews,  maybe 
you  need  70  to  80  percent  of  b-roll — 
whether  archival  or  not.  In  general, 
voiceover  needs  to  be  covered  100 
percent  and  interviews  need  at  least  50 
percent  coverage,  unless  you  are  making 
a  film  Errol  Morris-style.  Rent  a  docu- 
mentary similar  to  yours  and  draw  its  pie 
chart  for  comparison.  It  might  not  be  a 
completely  accurate  method,  but  it's 
better  than  throwing  a  die. 


Once  you  know  how  many  minutes 
you'll  need,  it's  time  to  make  phone  calls 
or  go  online  to  locate  collections  with 
your  film's  subject.  Start  with  the  nation- 
al archives  both  in  the  US  and  UK 
(www.archives.gov  and  www.nation- 
alarchives.gov.uk),  and  ask  your  prospec- 
tive interview  subjects  for  further  leads, 
commercial  or  otherwise. 

Licensing  fees  vary  from  a  few  hun- 
dred to  several  thousand  dollars  per 
minute,  though  some  footage  is  exempt 
due  to  "fair  use."  Check  the  ground- 
breaking research  and  educational  work 
of  Pat  Aufderheide  and  Peter  Jaszi  for 
insights  on  your  case  at  American 
University's  Center  for  Social  Media 
(www.centerforsocialmedia.org). 

However,  even  if  the  footage  is  public 
domain  or  royalty-free  you  still  have  to 
calculate  associated  cost — such  as  film 
transfer  and  tape  dubs  for  both  preview 
and  master  copies  (fortunately,  preview 
samples  are  sometimes  streamlined  on  web- 


sites), and  research  and  clearance  negotia- 
tion time,  which  can  take  several  months. 
Don't  forget  viewing  time,  especially  if  done 
with  your  editor,  and  shipping. 

Boston-based  writer/director  Maria 
Agui  Carter,  who  has  produced  several 
historical  documentaries  for  PBS,  says, 
The  Devil's  Music,  about  fear  of  blackness 
and  sexuality  in  American  jazz  censor- 
ship, was  about  70  percent  archival.  "We 
hired  a  footage  researcher  who  kept  cost 
down  by  finding  public  domain  archival 
newsreels,  but  our  feature  clips  averaged 
$5,000  per  minute."  Her  choices  paid 
off,  jazz  archivist  Michael  Chertok  con- 
siders the  film  "the  best  use  of  historic 
footage  in  a  film  I  have  ever  seen." 

Dear  Doc  Doctor: 

There  are  so  many  classes  offered 
for  mid-career  filmmakers.  How  do  I 
choose  and  how  much  should  I  be 
willing  to  spend? 

What  was  the  point  of  that  student 
loan  for  film  school  if  a  decade  later 
you're  still  taking  classes,  right?  But  as 
technology  changes,  markets  shift  and 
you  mature  as  a  filmmaker,  which  can 
mean  that  some  updating  might  be  nec- 
essary every  now  and  then. 

II  the  paranoia  of  not  having  gone  to 
film  school  makes  you  sign  up  for  every- 
thing and  anything,  a  metropolitan  city 
can  provide  too  many  options. 
Filmmaker  Jesse  Epstein,  moderator 
or  the  New  York  daily  listserv 
ShootingPeople.org,  says,  "We  get  1 50 
posts  weekly,  30  of  which  are  for  profes- 
sional training." 

Before  you  succumb  to  the  overload  of 
skilled  marketing  people  whose  ads  pray 
on  your  fears  and  promise  success,  make 
sure  you  know  what  you  don't  know.  List 
your  weak  areas  specifically.  Then  ask, 
"Do  I  really  need  to  learn  that  right  now, 
or  am  I  better  off  hiring  someone?" 
Maybe  a  two-hour  class  to  get  a  general 
understanding  of  that  particular  aspect 
of  film  will  suffice. 

For  mid-career  filmmakers,  I  have 
found  that  educational  opportunities 
can  be  divided  into  three  groups.  First 


20  The  Independent  I  September  2005 


group:  the  insiders.  These  are  people 
from  foundations  and  organizations  that 
serve  on  panels  and  teach  workshops 
around  the  country  about  their  individ- 
ual foundations.  Don't  skip  these  oppor- 
tunities— they  are  a  unique  chance  to 
learn  about  various  organizations. 

The  second  group:  the  filmmakers. 
These  are  people  who  have  just  succeed- 
ed with  their  work  through  amazing 
outreach  efforts,  an  incredible  festival 
run,  or  an  unprecedented  budget  juggle. 
And  they  are  going  to  tell  you  how  they 
did  it  fresh  from  the  frontlines.  Pay 
attention,  though,  their  methods  are  just 
what  have  worked  for  them,  which  may 
not  necessarily  work  for  you.  Fees  vary, 
but  no  price  is  too  high  if  your  project 
and  plan  of  action  coincide  with  experi- 
ences these  filmmakers  may  have  had.  It 
will  save  you  a  lot  of  time  and  money  to 
learn  from  those  who  are  a  few  steps 
ahead  of  the  game. 

Third  group:  the  teachers.  These  are 
people  highly  specialized  in  one  partic- 
ular area  of  fdm,  though  they  may  or 
may  not  have  a  successful  film  career. 
Don't  let  that  discourage  you — you 
want  their  knowledge,  not  their  life. 
And  contrary  to  the  popular  "those  who 
can't  do,  teach"  cliche,  these  are  people 
generous  enough  to  share  years  of 
research  and  who  possess  the  skills  to 
pass  that  knowledge  on  in  an  effective 
way.  Do  beware,  however,  of  ads  that 
use  superlatives — there  is  no  "best"  or 
"number  one"  in  teaching  and  learning. 
Knowledge  can't  be  harnessed.  A  good 
teacher  will  be  humble  and  aware  of 
how  much  they  still  need  to  learn. 
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you — if  nothing  else,  a  contact  number 
from  the  person  sitting  next  to  you. 
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6  Authorized  Training  Center 


September  2005  I  The  Independent  21 


\L  CIRCUIT 


For  Colored  Girls  Who  Considered 
Their  Own  Film  Festival  When 
Sundance  Is  Enuf 

The  Black-Eyed  Susans  Film  Festival 

By  Kathy  Y.  Wilson,  co-founder  &  co-organizer 


L-R:  photos  1,  3  &  4  are  from  Prometheas'  Visual  Inversion:  A  Life  Less  Ordinary— a  film  by  Una-Kariim  Cross;  photo  2  is  filmmaker  Selena  Burks 
(photo  by  Una-Kariim  Cross);  photo  5  is  festival  participant  Una-Kariim  Cross  (photos  courtesy  of  Kathy  Y.  Wilson) 


Documentation  is  validation. 
Within  any  community  populated 
by  black  women,  we're  more  apt  to 
bear  the  psychic  pain  of  walking-around 
sadness — left  unnamed,  that  sadness 
morphs  into  powerlessness  and,  ultimate- 
ly, silence.  Alas,  filmmaking  is  the  new 
Amen  Corner,  and  the  all-women's  col- 
ored choir  is  armed  with  cameras.  A  good 
thing  too,  because  even  in  contemporary 
cinema  with  all  its  advances,  other  people 
still  speak  for  black  women,  writing  and 
casting  roles  dipped  in  the  sepia  stereo- 
types of  postmodern  mammies,  rife  with 
shallow  subject  matter  like  beauty  shop 
bitchiness  and  baby  mamma  drama. 

Far  from  the  maddening  crowd  of  name 
brand  festivals  and  the  entree  they  bring,  a 
tight-knit  community  of  black  women 
filmmakers  thrives  in  Cincinnati,  Ohio. 
They  screen  films  for  the  mere  satisfaction 
of  audience  reaction  and  social  justice. 
And  to  that  end,  the  first  ever  Black-Eyed 
Susans     Film     Festival     premiered     in 


Cincinnati  last  June  with  disparate  strokes 
of  cinematic  revolution. 

Comprising  just  three  documentaries — 
Saving  Jackie  by  Selena  Burks,  Prometheas' 
Visual  Inversion:  A  Life  Less  Ordinary  by 
Una-Kariim  Cross,  and  The  Color  of 
Justice:  A  History  of  Cincinnati  s  Race  Riots 
from  1792  to  2001  by  April  L.  Martin— 
the  little  film  festival  that  could  screened 
two  packed  houses  of  folks  hungry  for 
flicks  a  little  deeper  than  The  Longest  Yard 
and  Monster-in-Law. 

At  both  screenings,  the  audiences 
included  white  intellectuals,  sophisticat- 
ed Huxtable-esque  couples,  revolutionary 
nappy-headed  black  women,  college 
activists,  and  young  black  b-boys.  "In  a 
city  like  Cincinnati,  communities  are 
built,"  says  Black-Eyed  Susans  co-organ- 
izer Dani  McClain.  "Everybody  knows 
who  the  nappy  heads  are,  everybody 
knows  who  the  social  justice  set  is,  but 
what  you  can  do  is  pull  together  those 
different    communities    and    give    them 


something  to  think  and  talk  about." 

"It's  not  so  much  about  building  com- 
munity," McClain  continues.  "Who 
knows  if  that  same  configuration  of  peo- 
ple will  ever  get  together  in  that  same 
room,  ever?"  Though  it  might  seem  the 
result  of  intense  media  promotion  in  the 
weeks  before  the  festival,  the  mixed  audi- 
ences were  in  fact  intentionally  lured  to 
The  Greenwich,  a  small  jazz  club-cum- 
screening  room  in  Walnut  Hills,  a  work- 
ing-class black  enclave  of  Cincinnati. 

Forced  socialization  across  race,  class, 
and  gender  was  one  goal  McClain  and  I 
intended  for  this  festival.  "I  thought:  It'd 
be  cool  to  have  a  festival  that  celebrates 
our  lives,  something  to  put  black  lives  on 
the  screen,"  says  McClain,  a  27-year-old 
former  history  teacher  and  recent 
Columbia  University  School  of 
Journalism  graduate  student.  "We've 
never  used  film  as  something  to  bring 
together  our  community,"  she  says.  And 
we    pulled    it    off   with    three    wildly 


22  The  Independent  I  September  2005 


different  films  by  equally  different  black 
women. 

Saving  Jackie  is  Selena  Burks'  35- 
minute  saga  about  her  mother,  Jackie. 
Fresh  from  rehab  to  kick  a  crack  cocaine 
habit  and  just  days  into  her  new  gas  sta- 
tion job,  Jackie's  sobriety  is  so  new  to  her 
that  she  sees  her  world  like  a  child  who's 
just  learned  to  speak.  Set  against  the  back- 
drop of  high  school  and  college  gradua- 
tions and  other  life-goes-on  mundaneness, 
Burks'  interviews  with  her  younger  sister, 
her  sometimes  estranged  father,  and  the 


or  the  mature,  wealthy  white  socialite  who 
says  African  Americans  have  told  her  she 
"walks  the  walk";  or  the  African  man  who 
seems  depressed  by  his  new  African 
American  identity. 

The  festival  closed  with  The  Color  of 
Justice,  April  L.  Martin's  two-hour-plus 
epic  covering  the  history  of  Cincinnati's 
race  riots  from  the  eighteenth  century 
through  2001,  a  fitting  bookmark  to  leave 
with  Cincinnati  audiences  considering 
how  far  we  still  have  to  go  in  racial  under- 
standing. 


own  confusion,  rage,  questions,  and  iden- 
tity to  sit  together  in  a  dark  room  and 
laugh,  moan,  sigh  and  cry  together: 
Humanity  at  the  movies. 

All  friends,  I  already  knew  each  of  the 
filmmakers  from  different  corners  of  my 
life.  Cross  pays  her  bills  as  an  arts  admin- 
istrator, but  she's  known  in  the  street  as  a 
photographer  who  captures  off-kilter  por- 
traits of  everyday  grace;  Martin  is  a  free- 
lance journalist  and  a  self-taught  docu- 
mentarian  whose  reputation  for  stalking 
down  the  truth  belies  her  youthful  inexpe- 


foster  mother  who  gave  her  refuge  lend 
Jackie's  story  an  extra  dollop  of  bittersweet 
as  they  demonstrate  how  the  entire  family 
endures  the  ravages  of  Jackie's  addiction. 
No  black  mamma  hallmark,  Saving  Jackie 
is  a  postmodern  valentine  written  in  the 
hope  of  reconciliation. 

Prometheas'  Visual  Inversion:  A  Life  Less 
Ordinary  is  a  deftly  edited  25-minute  med- 
itation on  "the  commonalities  as  well  as  the 
differences  amongst  people  who  occupy 
the  social  atmosphere  of  life,"  says  film- 
maker Una-Kariim  Cross.  "This  is  not  a 
video  about  race."  Originally  part  of 
Cross's  2004  master's  thesis  in  photography 
at  the  University  of  Cincinnati's  College  of 
Design,  Art,  Architecture  and  Planning, 
the  piece  is  still  relevant  because  it  is  a 
stitched-together  chorus  of  how  life  would 
sound  if  we  all  told  the  truth  about  entitle- 
ment and,  conversely,  disenfranchisement. 

Deliriously,  some  of  Cross's  subjects  do 
not  always  tell  whole  truths,  like  the  well- 
meaning  white  man  who  takes  several  stut- 
tering passes  at  saying  "nigger"  as  he  tries  to 
talk  about  the  racism  of  other  white  men; 


Of  her  involvement  with  the  festival, 
Burks,  a  25-year-old  Cincinnati  transplant 
from  Cleveland  and  Dayton,  says, 
"Cincinnati  is  such  a. .  .there's  a  lot  of  ten- 
sion here.  [There  are]  a  lot  of  racial,  eco- 
nomic and  class  issues  here  and  to  be  part 
of  a  collective  of  solid  black  female  voices, 
I  feel  like  I'm  part  of  a  movement." 

Small-scale  artistic  revolution  seems  the 
only  salve  for  this  city  still  divided  greatly 
along  lines  of  class  and  race.  Inundated  by 
pockets  of  poverty,  ridden  with  violent 
crime  perpetuated  by  mostly  young  black 
males  against  themselves,  and  overrun  by 
brazen  corporate  panhandling,  we're  still 
slouching  through  the  rubble  left  by  the 
April  2001  riots  that  followed  the  fatal 
police  shooting  of  19-year-old  Timothy 
Thomas.  However,  art  springs  forth  here, 
and  it  is  easy  to  harvest. 

As  co-organizer  and  promoter,  the 
Black-Eyed  Susans  Film  Festival  was  for  me 
first  and  foremost  an  excuse  to  corral  the 
talent  surrounding  me  and  direct  it  toward 
a  substantive  and  progressive  event.  I  want- 
ed folks  who'd  been  frustrated  by  their 


rience;  and  Burks  has  the  most  film  and  fes- 
tival experience — Saving  Jackie  screened  at 
Sundance,  and  the  Cleveland  International 
and  Urban  World  film  festivals. 

But  before  we  could  name  our  "event," 
we  had  to  organize  ourselves.  And  so,  the 
Hallelujah  Time  Grown-Ass  Black 
Women's  Artistic  Collective  was  born. 

"It's  one  thing  to  just  have  a  group  of 
friends  with  whom  you  share  a  similar 
interest,  but  it's  another  thing  to  have  a 
project  you're  all  focused  on  bringing  to 
fruition,"  says  McClain.  While  Burks  says, 
"The  energy  [in  Cincinnati]  is  very  apa- 
thetic. The  energy  within  our  collective  is 
the  antithesis  of  that." 

Propelling  this  collaboration  forward 
required  power  that  we  already  had  but 
that  we'd  never  before  collectively  uti- 
lized. Strangely,  we  have  examples  of 
black  female  power  in  Cincinnati,  but 
so  often  that  power  comes  only  in  quo- 
tation marks.  Both  the  city  manager  and 
vice  mayor  are  black  women,  yet  they 
exist  as  mere  figureheads  with  little  say- 
so  regarding  marked  change. 


September  2005  I  The  Independent    23 


-     Audio 


Original  Scori ng  -  Foley  /  adr  -  Sound  FX  Library 
Noise  Reduction  -  Mix  to  Picture  -  Audio  Restoration 

OUEENS-      7  18-606-8677 


"We  harnessed  power  together,"  says 
McClain.  "The  black  power  elite  doesn't 
stand  for  anything.  For  us  to  do  some- 
thing like  this  is  just  in  keeping  with  what 
we've  all  been  building  on  for  awhile." 

Lest  this  all  dissolve  into  one  ass-kissing 
session  of  self-congratulation,  we  with- 
stood our  share  of  Black-Eyed  calamities. 
There  were  nearly  30  minutes  of  post- 
intermission  technical  hell  during  the  final 
night's  screening  of  The  Color  of  Justice. 
Further,  days  before  the  festival,  Martin's 
hard  drive  crashed  and  she  lost  the  time- 
line of  her  entire  documentary,  which 
luckily,  was  subsequently  rescued  by  a 
technician.  Then,  the  film  wouldn't  print 
to  VHS  or  DVD.  The  entire  festival  was 
conceived,  promoted,  and  presented  in 
lockstep  with  my  mother's  diagnosis  of 
and  death  from  pancreatic  cancer.  When 
she  died  May  10  with  less  than  one  month 
before  the  festival,  we  hadn't  done  any 
press,  printed  any  fliers  or  posters,  or  even 
written  the  press  release. 

I  thought:  What  would  my  mamma 
do?  She'd  have  finished.  And  we  did. 

Securing  the  98-seat  venue  guaranteed 
that  a  small  crowd  would  fill  the  room 
fast,  and  it  did... both  nights.  With  no 
overhead,  a  sponsor-donated  ad,  and  the 
venue's  co-owner  footing  the  cost  to  print 
posters,  we  cleared  enough  money  to  pay 
the  filmmakers,  the  ad  designer,  the  sound 
technician,  and  half  back  to  the  co-owner 
for  the  posters. 

Next  year  we  intend  to  return  wiser,  a 
little  bigger,  and  with  a  farther  reach. 
Ultimately,  the  Black-Eyed  Susans  Film 
Festival  is  an  outlet  for  women  filmmakers 
of  color.  We  started  with  who  we  had — 
three  black  women  in  Cincinnati — and 
we'll  continue  and  expand  according  to 
who  will  have  us. 

Encouragingly,  McClain  envisions  the 
festival  as  a  bridge-builder  between 
Cincinnati  and  New  York,  her  second 
hometown.  "They're  both  too  insular  and 
they  both  suffer  because  of  that,"  she  says. 
"New  York  needs  a  dose  of  midwestern 
reality,  and  Cincinnati  needs  a  dose  of 
New  York  possibility."  "& 

For  more  information  on  The  Black- 
Eyed  Susans  Film  Festival,  please  email 
blk_eyedsusans@yahoo.  com. 


24  The  Independent  I  September  2005 


FESTIVAL  CIRCUIT 


^a^— **oon 


S.SIB 


The  Silverdocs  Summit 

A  united  nations  of  filmmakers  talk  shop 


By  Rania  Richardson 

££   It's  the  brain  of  the  free  world," 

(said  Austrian  filmmaker  Hubert 
Sauper,  referring  to  our  nation's 
capital,  the  hub  for  political  movers  and 
shakers  and  the  global  impact  they  com- 
mand. Sauper's  film,  Darwin's  Nightmare, 
about  the  terrify- 
ing consequences 
of  globalization, 
won  top  prize  at 
the  Silverdocs: 
AFI/Discovery 
Channel  Documentary  Festival,  which 
was  held  in  June  in  Silver  Spring, 
Maryland,  an  urban  suburb  of 
Washington,  DC. 

Set  in  Tanzania,  Sauper's  atmospheric 
film  examines  the  ill  effects  that  transpire 
after  a  Nile  perch  is  artificially  intro- 
duced to  Lake  Victoria  and  wipes  out  all 
the  native  fish  species,  triggering  a  domi- 
no effect  that  leads  to  a  starving  commu- 
nity plagued  with  AIDS.  Through  rich 
characters  and  striking  visuals,  the  film 
transcends  its  horrific  story  and  packs  a 
chilling  punch  at  the  end — when  it 
becomes  clear  that  the  chain  of  events  has 
led  to  a  system  that  fuels  civil  wars  in 
neighboring  countries. 

The  film  was  produced  in  collabora- 
tion with  European  television  broadcast- 
ers. In  fact,  the  fluidity  between  the  small 
screen  and  the  big  screen  is  an  integral 


countries.  Television  networks  include 
TLC,  Animal  Planet,  and  Travel  Channel. 
In  2003,  to  bolster  urban  renewal, 
Discovery  moved  its  offices  from  tony 
Bethesda  to  nearby  multicultural  Silver 
Spring.  In  conjunction,  the  American 
Film    Institute    renovated    the    local    art 


part   of  Silverdocs,    and    is    increasingly      deco  Silver  Theatre.  The  two  organiza- 


gaining  currency  in  the  filmmaking  dia- 
logue. Part  of  the  initiative  behind 
Silverdocs  came  from  Discovery 
Communications.  After  its  inception  in 
1985  as  The  Discovery  Channel  in  the 
United  States,  the  property  expanded  into 
a   global   media   company   in   over    155 


tions  partnered  to  launch  the  annual 
Silverdocs,  a  showcase  for  nonfiction 
filmmaking  created  to  bring  culture  and 
revenue  to  a  community  of  pawnshops 
and  malls.  As  development  increases, 
local  residents  are  taking  a  stand  to  pre- 
serve the  racial,  ethnic,   and  economic 


diversity  that  gives  their  area  a  unique 
identity. 

With  a  virtual  United  Nations  at  its 
front  steps,  festival  director  Patricia 
Finneran  sees  a  future  for  Silverdocs  as 
the  premiere  international  festival  for 
documentaries.  "We're  building  a  foun- 
dation for  filmmakers  and  leading  execu- 
tives from  around  the  world,"  she  says. 
This  year  television  funding  partners 
from  Europe  and  South  Africa  were  invit- 
ed to  impart  advice  and  listen  to  pitches 
at  the  festival's  industry  conference. 
Joining  the  discussions  were  representa- 
tives from  the  locally  headquartered  pow- 


September  2005  I  The  Independent    25 


Silverdocs  opened  with   Midnight  Movies: 
From  the  Margin  to  the  Mainstream. 


erhouses  PBS,  National  Geographic,  and 
Discovery.  Along  with  a  rep  from  New 
York-based  HBO,  the  group  was  made 
up  of  the  four  largest  commissioning  pro- 
grammers in  the  United  States. 

"The  best  way  to  see  a  film  in  the  way 
the  artist  intends  it  is  on  the  big  screen, 
but  the  biggest  audience  will  be  on  TV," 
said    Cynthia    Kane,    manager    of  film 


programming  at  the  Sundance  Channel, 
another  significant  broadcaster.  Television 
has  always  been  a  key  player  in  financing 
docs  and  bringing  them  to  viewers.  As  the 
genre  grows,  and  now  that  a  handful  of 
theatrical  docs  are  the  talk  of  the  indus- 
try, television  programmers  are  finding  it 
easier  to  entice  filmmakers  who  dream  of 
seeing  their  name  on  a  marquee. 

In  partnering  with  filmmakers,  the 
group  of  US  television  executives  at  the 
festival  agreed  that  cable  pays  between 
$10,000  and  $1  million  for  a  co-produc- 
tion, and  that  the  average  is  about 
$150,000.  When  filmmakers  ask,  "How 
much  should  I  ask  for?"  the  counter 
question  is  "How  much  do  you  need?" 
Asking  for  seed  money  or  completion 
funds  may  be  more  appropriate. 
(Proposal  submission  information  is 
available  on  company  websites.) 

Allison  Winshel,  a  senior  director  of 
primetime  programming  at  PBS,  stated 
that  her  company  might  be  more  apt  to 
give  money  to  a  mission-driven  work  that 
wouldn't  find  funding  in  the  commercial 
arena.  "We  want  filmmakers  to  look  at 
PBS  as  a  partner  to  help  shepherd  them 


through  the  process  and  identify  finish- 
ing funds,  or  to  make  an  early  commit- 
ment with  them  that  they  can  use  as 
leverage  elsewhere,"  she  said. 

To  fete  filmmakers  and  generate  buzz 
for  a  television  show,  celebrity  red  carpet 
screenings  perform  the  same  function  as 
theatrical  premieres.  Silverdocs  opened 
with  Midnight  Movies:  From  the  Margin 
to  the  Mainstream.  Produced  and  directed 
by  Stuart  Samuels,  the  film  explores  how 
midnight  features  impacted  popular  cul- 
ture and  society,  and  includes  interviews 
with  cult-movie  icons  such  as  George 
Romero,  David  Lynch,  and  John  Waters. 
Starz  Encore  cable  channel  subsequently 
aired  the  original  documentary  as  a  kick- 
off  to  a  series  of  midnight  movies  on  the 
station. 

After  the  screening,  "Good  Morning 
America"  s  Joel  Siegel  interviewed  an 
enthusiastic  Samuels.  "The  future  is  not 
film,"  Samuels  said.  "It's  video.  The  ques- 
tion is  how  to  change  viewing  video  from 
the  small  to  the  large  screen,  to  go  from 
an  intimate  perspective  to  one  of  being 
enveloped  with  image  and  sound." 

The  selection  worked  well  for  an  open- 


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26  The  Independent  I  September  2005 


Boys  of  Baraka  is  about  ghetto-raised  Baltimore  youths  living  in  a  boarding  school  in  Kenya 
(courtesy  of  AFI) 


ing  night  because  it  conveyed  the  magic 
of  the  1970s  glory  days  of  film-going.  It 
also  included  appearances  by  industry 
players  of  the  time,  such  as  Ben 
Barenholz,  former  owner  of  the  innova- 
tive Elgin  Theatre  in  New  York. 

James  Dean:  Forever  Young  was  the  fes- 
tival's closing  night  film,  which  went 
directly  to  DVD.  Purists  may  believe  that 
nothing  short  of  a  35mm  Cannes 
prizewinner  deserves  to  hold  a  key  festival 
slot,  but  that  philosophy  doesn't  square 
with  today's  small  screen/big  screen  inter- 
dependence. The  festival's  audience 
award  winners  were  Street  Fight,  about  a 
mayoral  election  in  Newark,  and  The 
Boys  of  Baraka,  about  ghetto-raised 
Baltimore  youths  living  in  a  boarding 
school  in  Kenya — both  funded  by  ITVS 
and  P.O.V.  There  may  be  no  better  festi- 
val to  bring  films  that  put  social  issues  on 
the  table  in  front  of  policy  makers  and 
non-profits.  In  the  DC  area,  even  the  cab 
drivers  are  eager  to  talk  politics. 

A  highlight  of  the  festival  was  Werner 
Herzog's  Discovery-produced  Grizzly 
Man,  which  was  released  this  year  by 
independent  distributor  Lions  Gate 
Films.  The  story  follows  the  naturalist 
Timothy  Treadwell  as  he  lives  among  the 
grizzly  bears  in  the  Alaskan  wilderness 
and  is  eventually  killed  and  eaten  by  one 
of  them.  Editing  Treadwell's  own  video 
footage,  Herzog  constructed  the  story  of 
the  troubled  man  and  provided  insight 
into  his  psychological  state.  After  the 
screening,  Herzog  called  the  film  a  sequel 


to  Aguirre:  The  Wrath  of  God,  his  1972 
masterpiece  that  helped  define  the  move- 
ment of  "New  German  Cinema."  Herzog 
invited  audiences  to  draw  parallels 
between  Treadwell  and  Klaus  Kinski, 
who  played  the  conquistador  Don  Lope 
de  Aguirre  on  a  doomed  expedition  into 
the  Peruvian  rain  forest. 

Also  screened,  Comedians  of  Comedy  is 
a  behind-the-scenes  look  at  a  group  of 
alternative  comics,  which  was  produced 
by  online  DVD  movie  rental  service 
Netflix  in  their  first  foray  into  filmmak- 
ing (see  page  44). 

The  festival's  keynote  speaker  and  fea- 
tured filmmaker  was  Kopple's  contempo- 
rary, Penelope  Spheeris.  A  pioneering 
small  screen  music  video  maker,  Spheeris 
presented  a  selection  of  videos  from  her 
company  Rock  'n'  Reel,  the  first  music 
video  company  in  Los  Angeles,  along 
with  new  works  by  current  innovators 
such  as  Spike  Jonze,  Mike  Mills,  and 
Michel  Gondry. 

"If  I  could  go  back  and  do  it  again  I 
would  never  do  it  for  the  money,"  she 
said,  referring  to  the  Hollywood  projects 
she  took  on,  such  as  Wayne's  World  (1992) 
and  The  Beverly  Hillbillies  (1993),  follow- 
ing the  success  of  her  1981  seminal  punk 
rock  doc  The  Decline  of  Western 
Civilization.  With  over  25  years  experi- 
ence as  a  filmmaker,  her  closing  advice  to 
new  filmmakers:  "Get  educated  about 
every  aspect  of  the  business  before  you 
start  making  decisions."  ■& 


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September  2005  I  The  Independent    27 


fHE  SCENE 


Sunday  Night  Muse 


-a 

tf 
o 


Open  Zone  showcases  a  range  of  local  talent 


By  Katherine  Dykstra 

It's  Sunday  night  in  Williamsburg, 
Brooklyn — the  reigning  annex  of 
lower  east  side  hipsterdom.  Live  jazz 
floats  from  the  open  windows  of  a  Tiki 
bar,  sidewalk  cafes  overflow  with  20- 
somethings,  and  scads  of  the  tragically 
hip  mill  around  street  corners  as  the  sum- 
mer sun  retires.  All  the  while,  a  dedicated 
audience  heavy  with  filmmakers  sits  in  a 
dark  room  watching  short  films  with 
hopes  of  honing  its  craft. 

The  dark  room  is  in  Galapagos  Art 
Space,  a  bar-slash-performance  space 
known  for  its  support  of  the  burgeoning 
Williamsburg  art  scene  since  its  infancy 
in  the  early  90s.  And  the  short  films  are 
all  those  of  New  York  filmmakers, 
brought  to  the  screen  by  Ocularis,  a  not- 
for-profit    dedicated    to    informing    the 


public  conscious  with  contemporary  film 
and  video  work  as  well  as  "independent, 
avant-garde  and  repertory  cinema." 

"We  screen  work  that  is  often  excluded 
from  the  commercial  media,"  explains 
Thomas  Beard,  Ocularis'  program  direc- 
tor. "Experimental  film,  documentary, 
video  work,  artist-made  film,  and  world 
cinema  that  is  under-shown  in  the 
United  States." 

Founded  in  1996,  Ocularis  started  as  a 
rooftop  film  series  in  Williamsburg, 
Brooklyn.  It  wasn't  long  after  it  began 
that  Robert  Elmes,  the  owner  of 
Galapagos,  attended  a  screening.  He 
liked  what  he  saw,  offered  to  host  the 
event,  and  Sunday  nights  at  Galapagos 
were  born.  During  a  time  when 
Williamsburg    overflows    with    creative 


outlets,  "Ocularis  keeps  us  awake  and 
clever,"  explains  Elmes  from  his  perch 
behind  the  bar.  Since  then,  nearly  a 
decade  has  passed,  and  Ocularis  has 
grown  markedly.  The  501  (c)  3  nonprof- 
it now  encompasses  curated  screenings, 
one-man  shows,  and  a  host  of  collabora- 
tive efforts. 

"When  it  began,  Ocularis  was  very 
much  a  community  affair.  But  over  time 
what  I've  tried  to  do,  and  the  people  who 
held  my  position  in  the  past  have  tried  to 
do,  is  to  bring  in  an  audience  from 
Manhattan  and  Brooklyn,"  says  Beard. 
"But  since  the  work  that  we  show  typi- 
cally has  very  few  stewards,  we  have  to 
reach  out  to  institutes  to  work  with  us." 

And  reach  out,  they  have.  This  season, 
Ocularis     in     conjunction     with     the 


28  The  Independent  I  September  2005 


Goethe-Institut  brought  the  new-wave 
German  filmmaker,  Werner  Schroeter's 
film,  The  Death  of  Maria  Mali  bran 
(1971)  to  the  screen.  A  few  years  ago, 
Tracy  +  The  Plastics,  a  band  created  and 
performed  by  Wynne  Greenwood,  a  fem- 
inist video  artist,  performed  alongside 
work  by  the  widely  acclaimed  filmmaker, 
Elisabeth  Subrin.  And  this  fall,  the  non- 
profit plans  to  show  Joe  Gibbons's  dryly 
funny  videos  as  well  as  the  1970s  com- 
puter artist  Lillian  Schwartz's  A  Beautiful 
Virus  Inside  the  Machine.  Williamsburg 
and  ultimately  New  York  audiences  may 
be  hard-pressed  to  come  by  any  of  these 
events  without  an  outfit  like  Ocularis. 

Though  Ocularis  screens  films  at 
Galapagos  every  Sunday  night,  Open 
Zone,  the  forum  for  short  filmmakers  that 
is  in  full  swing  on  this  particular  Sunday 
night,  occurs  only  four  times  a  year. 
Technically,  the  work  shown  is  chosen  on 
a  first-come-first-serve  basis,  but  the  show 
isn't  done  in  quite  true  open-mic  fashion. 


Cinefiles  at  a  recent  Open  Zone  screening 
(photo  by  Travis  Hartman) 

"Since  they're  screened  in  advance,  the 
audience  doesn't  have  to  wait  for  the 
films  to  get  cued  up,"  explains  Beard. 

To  prepare  for  Open  Zone,  Kelly 
Shindler  and  Melissa  Fowler,  co-coordi- 
nators of  the  event,  put  feelers  out  to 
filmmakers  who  have  screened  before. 
They  email  bulletins  to  the  local  film 
schools  and  print  flyers  to  post  in  lower 
Manhattan.  They  also  rely  heavily  on 
Ocularis'  web  presence  as  well  as  a  host  of 
other  Internet  resources  such  as 
Frameworks      (www.hi-beam.net),     an 


experimental  film  discussion  board. 

"As  far  as  outreach  goes,  we're  kind  of 
a  small  fish  in  a  big  pond,"  says  25-year- 
old  Shindler,  who  writes  for  an  art  non- 
profit by  day.  "We  see  [Open  Zone]  as 
salon-like.  People  come  in  and  out  on  a 
rotating  basis." 

While  Ocularis  and  its  Open  Zone 
program  is  funded  mostly  by  the 
Department  of  Cultural  Affairs  and  the 
New  York  State  Council  on  the  Arts 
(NYSCA),  the  group  isn't  rolling  in 
dough,  which  though  sometimes  creates 
difficulties,  according  to  Shindler,  can 
also  be  extremely  liberating  artistically 
speaking. 

"It  seems  the  more  money  you  get 
from  sponsors  the  more  accountable  you 
are.  Since  we  don't  get  much  money, 
we're  allowed  to  take  more  risks,"  she 
explains.  Essentially,  Open  Zone  doesn't 
turn  anyone  away,  which,  as  one  might 
imagine,  can  make  for  a  rather  eclectic 
selection  of  films. 


September  2005  I  The  Independent    29 


Small  Microphones,  a  short  by  Fritz  Donnelly 


"Unlike  our  other  programming, 
[Open  Zone]  tends  ro  be  kind  of  a  mixed 
bag,"  says  Beard,  with  just  the  right 
amount  of  creative  diplomacy.  By  mixed 
bag,  of  course,  he  means  that  though 
many  films  are  interesting  and  even  well 
done,  some  can  be  extremely  amateur  to 
say  the  least.  "But  in  a  way,  there's  some- 
thing nice  about  how  random  it  can  be," 
he  adds. 

Right  now,  in  Galapagos'  spacious 
back  room,  a  rotating  cast  of  about  50 
come  and  go  as  a  woman  in  red  runs 
through  a  60-second  "music  video" 
(Marathon  with  Myself  by  Rolyn  Hu);  a 
pair  of  male  legs,  mirrored  on  the  hori- 
zontal, plies  and  kicks  over  and  over  for 
eight  long  minutes,  until  the  climax 
when  the  man  collapses  {3/0  by  Rotem 
Tashach);  and  a  mock-tourism  ad,  "Go 
Williamsburg!"  pokes  fun  at  the  so-cool- 
it's-lame  neighborhood  of  Williamsburg 
[  Go  Williamsburg  (Texas  Justice  Mix)  by 
Ben  Coonley].  Every  once  in  a  while  the 
rumble  of  the  ice  machine  unloading,  a 
rush  of  toilet  water  flushing,  or  a  creaky 
protest  from  one  of  the  folding  chairs 
momentarily  disrupts  the  quiet,  but  no 


one  seems  to  mind.  The  focus  is  entirely 
on  the  films. 

"This  was  my  first  time  at  Open  Zone, 
and  I  really  liked  that  people  were  trying 
to  express  different  types  of  ideas  with  a 
different  medium,"  says  filmmaker  Fritz 
Donnelly,  who  showed  three  related 
shorts  that  ran  about  7  minutes  called 
Awkivard  Social  Encounters.  "It  seems  to 
me  that  there's  a  lot  that  can  be  done  with 
film,  such  a  wide  range  of  expression  is 
possible.  Films  like  these  give  you  a  new 
pair  of  eyes." 

The  films  ran  a  gamut  between  exper- 
imental and  traditional,  finely  tuned  and 
rough-around-the-edges.  Some  of  the 
filmmakers  had  created  their  films  that 
very  day,  and  others  finished  their  films 
only  moments  before  they  were  screened. 
Rolyn  Hu  had  a  minor  mishap  with 
Annihilate,  the  film  she  had  originally 
planned  to  screen,  and  so,  in  an  effort  not 
to  miss  the  opportunity  to  screen,  she 
hastily  put  together  the  minute-long 
"music  video"  which,  actually,  was  very 
well  received. 

"So  many  films  are  made  [through]  a 
large  process  working  with  many  people, 


which  tends  to  lead  to  either  a  consensus 
work  or  something  very  authoritarian," 
says  Donnelly.  "Interesting  things  hap- 
pen when  films  are  made  more  immedi- 
ately, and  there's  a  faster  decision 
process." 

And  as  far  as  Fowler  is  concerned, 
there  couldn't  be  a  better  time  for  film- 
makers to  be  working  on  short  films — 
whether  experimental  or  traditional. 

"Recently  we've  seen  a  resurgence  of 
short  film,"  says  Fowler,  who  is  44  and  a 
full-time  programmer  of  film  festivals. 
"It's  to  a  filmmaker's  advantage  to  have  a 
short  because  it's  their  calling  card." 

"Shorts  have  been  embraced  by  com- 
plementary worlds,"  adds  Shindler.  "The 
art  world,  for  example,  has  lent  their  cre- 
dence to  the  genre.  The  last  Whitney 
Biennial  included  short  films." 

Donnelly,  whose  series  of  action  come- 
dy shorts  How  to  Fight  and  Win  will  screen 
at  the  new  IFC  theater  in  New  York  later 
this  year,  disagrees  with  the  calling-card 
theory:  "People  don't  use  them  to  get  more 
work."  Though  as  he  discusses  short  film 
in  general,  he  lands  on  the  reason  most  of 
the  filmmakers  are  present  at  Galapagos 


30  The  Independent  I  September  2005 


that  night  in  the  first  place,  "[they  use 
them]  to  work  on  their  craft." 

"I  chose  to  show  what  I  feel  are  my 
B-list  movies  because,  there,  it's  safe," 
he  says.  "People  risk  things  there." 

This  seems  to  be  the  attitude  of  the 
majority.  After  introducing  her  film, 
Concoctions,  Caitlin  Berrigan  asked 
that  anyone  with  comments  approach 
her  after  the  show.  "I'm  open  to  all 
your  feedback,"  she  said.  Which  is  the 
reason  screenings  of  this  size  are  so 
beneficial  to  filmmakers  who  are  still 
finding  their  feet.  Shindler  stressed 
that,  "Works  in  progress  are  encour- 
aged," because  a  dialog  is  opened  up 
after  the  show.  Rather  than  simply 
taking  off  after  the  screenings,  most 
people  congregate  and  discuss  what 
they  liked,  didn't  like,  and  how  they 
think  certain  films  could  be  improved. 

"At  most  screenings,  people  watch 
the  film  in  the  theater  and  then  make 
their  exit  right  afterward,"  says  Beard. 
"But,  because  the  filmmakers  are 
there — almost  all  of  them  always 
attend — they  linger  and  conversations 
begin."  ~k 


Marathon  with  Myself,  a  60-second  short  by  Rolyn  Hu 


IDA'S  9th  Annual 

Theatrical  Documentary  Show 

September  24-1 

at  Behind  the  Mall  Cinema 

4501  Central  Ave 
Hot  Springs,  AR 


OCTOBER  21  "30-  2005 


-ENTRAL  AVENUE 

HOT  SPRINGS,  AR 

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September  2005  I  The  Independent    31 


RYAN  GOSLING 


.rroU 

R:>__-g    rr^_gr.:    --.;    :".;■.■  ;r« 
hot  SuncL  at  earlier 

scheduled  meeting  had  gone  awry,  and  he 
pair  in  the  m 
_ 

-  _-        .  _.  " 

work — ewer  .he 

-  ■    .._::.-;     ;-- 

.    ■. 
I  xmaDy  for  a  good  20  min- 
l   e  inrervie    g  was 

-.;    -—;-.-   rrrcr.i-.:   ..:   :-.    :.~c     1.-J 

fek  Eke  to  be  so  pregnar  ..nridpat- 

new  fife — this  new  person  ro  whom 

!:    —z  z-.-.r:>z  —  z  >.   ~zr.    .■.    :.-..-£>    H:> 
.-;_-:    c  -_:_-;  _::;  :;:.:.:  j_r>:..r.  -£ 
is  indicative  of  the  kind  of  actor  be  is — he 
doesn't  want  to  inrnide,  but  be 
know,  to  learn,  and  he 

The  fhaiaims  Gosling  has  p..    . 
independent  film  career  thus  far  are  simul- 

:_-.r:_-       ._:  ;   lt.z   z.~z-..-r.tz — .  :_:   .r. 

c 
societal  terms   (Danny  in    The  Be... 
1  >  -■._-:.  ^.:  ::;.—.- 

pktehr  lacking  in  auJwirai 
.-_:.-::•    .-"..  Li.    -?-•■     r.z:i 

--7Zt7  _■  Le_L_-  -  -.  7:  \~ -.::<:.  \v.\-  - 
I-.-:  -  1  '  ;  .-_  zzz  rzrzz  ..-  ;-_-:- 
rers  wirh  no  easy  way  out — among  rhe  best 

.•_"  C  '.".       Z'.ZZ.  ZT.Z  ZiZZ      " "  :   ".J~."  _•_" .Z  '.  ' 

_-  _  -   :  ..-.:  -    it.  I-::>_r_£  :    r.; 

RO  When  you  were  doing  press  for 
The  Believer,  yon  said  thai  what  you 
ing  Dannv  was  thai 
realh  ever  thinks  thev re 
lobodv  thinks  they re  a  bad 
person.  And  thai  is  really  striking  to 
me  because  where  then,  in  film  and  in 


are  versus  what 
you  are  and  how 
those  things  can 
be  wry  different. 
And  when  I  read 
the  script  for 
The  Believer.  1 
was  reminded  of 
that  guv.  Dannv 
went  to  veshiva, 
grew  up  in  a  pre- 
dominandv 

Ryan  Gosling  in  the  thriller  Stay  (Eli  Reed/Twentieth  Century  Fox(  lewish  neighbor- 

hood, and  eventually  was  going  to  Torah 


real  life,  which  I  think  is  more  often 
and  better  depicted  in  independent 
film,  does  accountability  come  into 
play?  Danny,  this  Nazi  Jew.  doesn't 
think  he  s  wrong,  but  how  does  he  end 
up  ever  being  accountable  for  his 
actions: 

:  do  who? 

RC:  To  himself  or  to  the  people  he 
directly  affects,  who  maybe  are  trying 
to  love  him  and  help  him  liver 

1  remember  seeing  some  guy  on 
or   ?o\Sch~  or  "Ricki  Lake" — a  black 
•vho  hated  black  people.  He  was  wear- 
g  rJue  contacts,  had  dyed  his  hair 
blondc.  He  hated  everything  that  he  was. 
And  1  didnt  understand  how  he  was  alive. 

RC:  You  mean  why  he  didnt  kill 
himselff 

RG:  ^eah.  ^S  .:  nich 

<ke  about  his  disdain  and  d:  _ 
for  a  race  thai  he  was  parr  or.  I  coulc  i 
_Ticer;iE_"c  r.    -:   r. t  _■ : :  thrc  ugh  d"  t  daj . 

ho  vou 


study  class  by  day  and  KKK  and  Nazi 
rally  meetings  at  night.  And  he  was 
bringing  knishes.  But  Henry  [Bean,  the 
director]  took  it  to  another  level — he  saw 
Dannv  as  someone  who  wanted  to  be  a 
lewish  Nazi.  He  didnt  want  to  be  just 
one  or  the  other.  He  wanted  to  be  both. 
And  he  wanted  that  to  be  okay. 

RC:  Do  you  think  that  kind  of 
dichotomous  existence  is  vary  rare  or 
more  common  than  we  might  think: 

RG:  1  don't  know,  but  I  grew  up 
around  some  real!}'  amazing  people — real 
individuals.  1  was  introduced  to  life 
through  these  really  incredible  people 
who  weren't  necessarily  happy  with  either 
who  the}'  were  or  the  course  that  their  life 
had  taken.  There  was  an  inherent  disap- 
pointment. It  always  interested  me,  and  it 
still  interests  me — how  that  happens  and 
what  that's  like. 

RC:  And  that's  what  I  mean  about 
accountability — I  guess  the  issue  is 
really  about  being  accountable  to  your- 
self. Playing  Danny  had  to  have  been 
an  extraordinary  experience  for  you. 


-  -    -    _        _    ^    -  _  -  - 


RG:  Oh  yeah.  I  had  no  idea — I  kind 
of  have  more  of  an  idea  now — but  I  had 
no  idea  then  what  it  was  exacdy  that  I 
was  going  to  do  [with  my  career,'.  And 
this  script  came  along,  and  for  some  rea- 
son, in  a  way  that  I  could  not  articulate.  I 
knew  [this  film]  was  something  I  had  to 
do.  And  I  didn  t  know  why,  but  I  knew  I 
wouldn't  understand  until  I  did  it. 

RC:  And  do  you  now  understand: 

RG:  I  guess  I  realized  that  the  thing 
that  centers  me  the  most  as  a  person,  is 
to  find  common  ground  with  other  peo- 
ple. I  really  dig  when  I  meet  somebody 
that  is  completely  different  from  who  I 
am,  and  we  talk  for  a  while,  and  I  figure 
out  that  we've  got  this  place  where 
both  live — everything  else  is  different, 
but  there  is  this  one  place  where  we  both 
meet.  To  take  somebody  like  Danny  and 
work  through  to  find  that  place  where 
both  live  was  a  really  important  thing  for 
me.  And  from  that  experience.  I  learned 
that  in  this  whole  thing,  movies,  the 
whole  business,  there  is  a  place  for  me 
where  I  can  rake  these  people  who  seem 


FILM  FESTIVAL  Ltlli 

FEATURING  CUITING-EDGE  HUB  ROM  MOUND  THE  GLOBE 
SEPT  13-27  IN  SF  AND  OCT  6  AND  13  IN 


so  different  from  me  and  figure  out 
where  we're  the  same. 

RC:  You've  done  some  Hollywood 
films — how  do  those  experiences  meas- 
ure in  contrast  to  your  work  in  inde- 
pendents: 

RG:  I  know  how  hard  it  is  to  make  a 
movie,  especially  a  big  movie,  and  most 
of  the  people  involved  in  creating  the 
thing  bust  their  ass  to  make  a  movie  that 
people  will  enjoy.  Now  granted,  a  lot  of 
times  its  about  making  money,  so  they 
want  you  to  enjoy  it  so  they  11  make 
mono" — but  they  re  still  trying  to  make 
something  that  you  11  enjoy.  .And  that 
cant  be  wrong.  If  you're  paying  money 
for  something  you  enjoy,  and  someone  s 
working  hard  to  give  you  that — that  s  a 
pure  exchange.  It's  just  not  how  I  want  to 
spend  my  time. 

RC:  Why  not.  if  it's  a  pure  thingf 

RG:  Its  a  litde  more  selfish  for  me — a 
litde  more  about  figuring  things  out.  You 
know,  sometimes  you  just  want  to  go  to 


the  Caribbean  and  make  a  movie  about 
pirates.  And  the  people  who  make  those 
movies  have  the  greatest  time  ever,  and 
the  stories  the;.-  tell  are  fantastic.  But  for 
me,  making  something  like  The  Believer 
is  more  fun,  because  when  I  leave  it,  it 
gives  me  a  bit  more  perspective  on 
myself,  and  that  settles  me. 

RC:  TJ)e  Slaughter  Ride,  a  great  film. 
I  \e  wondered  about  the  relationship 
between  David  Morses  character. 
Gideon,  and  your  character.  Roy,  in  the 
film.  I  Ve  read  that  some  see  Morse's 
character  as  a  paternal  figure,  but  I  saw 
him  as  being  kind  of  in  love  with  Roy. 

RG:  Well,  the  great  thing  about  that  is 
I  can't  answer  that.  I  would  always  ask 
him:  "Dave — is  he  into  me?  Or  is  he  not 
into  me?"  And  he  wouldn  t  answer.  I 
auditioned  for  that  movie,  and  I  knew  I 
had  to  work  with  [Dave].  I  read  with 
him,  and  I  didn  t  know  where  he  was 
coming  from,  but  wherever  it  was  I  bad 
to  find  out.  I  knew  that  working  with 
David  Morse  was  going  to  make  me  a 
better  actor.  And  it  did. 


4154369523  - 


■   :  :•:  c 


33 


RC:  I  was  surprised  the  film  didn't 
get  more  attention. 

RG:  I  think  it's  a  confusing  film 
because  it's  not  a  sports  movie,  and  it's 
not  this  other  kind  of  film. . . 

RC:  And  it  has  to  be  something, 
right? 

RG:  It  doesn't  have  to  be  something.  It 
is  what  it  is.  But  there's  no  real  name  lor 
it  yet.  So  it's  hard  to  market,  and  every- 
thing is  about  marketing  now.  There  are 
so  many  options,  and  if  you're  someone 
who  works  hard  for  your  money,  and 
you've  got  ten  dollars  to  go  to  the  movies, 
you  kind  of  want  to  know  what  it  is 
you're  going  to  see.  And  if  somebody  has 
a  hard  time  explaining  to  you  what  it  is, 
then  you  might  go  see  something  else.  I 
think  we're  really  at  a  point  of  transition 
with  the  kinds  of  movies  we're  making. 

RC:  I  think  so  too,  but  what  exacdy 
is  that  point  of  transition?  What  is 
happening  with  all  this  marketing  and 
all  these  options  now? 


RG:  Well,  what's  happening  is  that 
marketing  is  a  new  art  in  and  of  itself. 
You  really  only  have  to  make  a  trailer  and 
a  poster  that's  appealing  [to  sell  a  movie]. 
And  that's  it.  What  the  movie  is — doesn't 
really  matter.  They're  really  just  the  trailer 
but  longer. 

RC:  You  mean  studio  films  or  inde- 
pendent? 

RG:  With  a  couple  of  the  films  I  did  after 
The  Believer,  I  started  to  see  that  the  peo- 
ple making  the  film  knew  by  a  week  or 
two  before  the  film  came  out  how  much 
money  the  movie  was  going  to  make.  By 
test  audiences,  by  polls,  by  whatever  it  is 
they  do — they  knew  how  many  people 
were  going  to  go  see  the  movie.  So  that 
now,  before  a  movie  gets  made  in  a  stu- 
dio system,  it  has  to  run  through  the 
marketing  people.  Here's  a  script — from 
that,  it's:  how  can  it  be  marketed  and 
who's  attached? 

RC:  And  with  independents? 

RG:  The  independent  world,  which 
really  isn't  independent  anymore,  has 


kind  of  turned  into  something  else.  It's  a 
great  time  to  be  working  in  it  though 
because  there  aren't  a  lot  of  rules.  If  you 
can  get  around  the  right  people,  I  think 
you  can  try  a  lot  of  stuff  now.  There's  a 
new  independent  film — I  don't  know 
what  it  is,  but  it's  coming. 

RC:  Is  that  because  the  old  inde- 
pendent film  has  been  divvied  up  into 
various  branches  or  arms  of  the  studio 
system? 

RG:  It's  also  fallen  into  this  kind  of 
pattern,  which  I'm  not  into,  where  to  be 
independent  it  has  to  be  a  dark,  depress- 
ing point  of  view — where  everyone  is 
humorless  and  life  is  just  so  hard.  And 
we  need  to  reflect  that  because  people  are 
going  through  it  and  isn't  it  terrible.  But 
I  don't  think  that's  what  life  is  like  at  all. 
And  I  don't  think  that's  what  people  are 
like  at  all.  People  are  amazing  and  can  be 
happy  in  situations  that  you  can't  believe. 
I  was  just  in  Chad  recently  at  the  Darfur 
refugee  camps — I've  never  been  around 
people  that  were  happier  or  more  present 
in  my  life.  And  I  feel  like  we  do  them  a 


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34  The  Independent  I  September  2005 


disservice  when  we  [try  to]  reflect  those 
who  have  gone  through  a  difficult  time. 

RC:  But  it  is  hard  to  figure  out  how 
to  get  an  idea  of  what  others  have 
experienced  or  are  going  through,  and 
to  make  a  difference  and  be  solid  with 
your  intentions. 

RG:  I  think  independent  film  started 
out  trying  to  say  [in  reaction  to  studio 
films]:  I  don't  look  like  that  person,  1 
don't  talk  like  that,  my  life  isn't  like  that. 
I  don't  identify  with  that  at  all.  So  I'm 
going  to  make  a  movie  about  what  it's 
really  like.  But  now  I  think  we've  gone  so 
far  the  other  way  that  that's  not  what  it's 
like  either. 

RC:  You've  got  a  film  coming  out 
next  month  called  Stay,  directed  by 
Marc  Forster — what  was  your  experi- 
ence like  working  with  him? 

RG:  The  thing  about  Marc — and  I  hope 
it's  okay  to  say,  because  I  feel  like  it's 
kind  of  what  makes  him  the  filmmaker 
that  he  is — is  that  at  a  very  crucial  point 
in  his  young  adult  life,  he  experienced 
two  complete  extremes.  He  had  all  the 
money  in  the  world  and  then  had 
absolutely  nothing.  And  it  was  almost 
overnight.  He  and  his  family  went  from 
having  an  embarrassment  of  riches  to  liv- 
ing, I  think,  in  one  room  with  each 
other.  And  Marc  was  happy  in  both 
worlds.  So  he  makes  movies  from  that 
place,  and  I  think  that's  a  real  gift  to  us 
as  people  who  love  movies. 

RC:  How  did  you  come  upon  the 
project? 

RG:  I  read  the  script,  and  then  I  met 
with  Marc.  I  knew  after  meeting  him 
that  working  with  him  was  going  to  help 
me  be  better. 

RC:  And  that's  definitely  a  factor  for 
you  when  you're  choosing  what  you 
want  to  do — whether  or  not  it's  going 
to  make  you  better. 

RG:  I  get  bored  easily.  I  want  to  keep 
things  interesting.  And  I  know  that 
when  I  meet  people  like  Henry  Bean  or 
David  Morse  or  Marc  Forster,  that  I'm 


going  to  learn  something  from  knowing 
them.  I  can  stay  in  this  place  that  I'm  in 
and  try  to  feel  comfortable,  but  I  know 
that  there's  more,  and  that  certain  people 
I  meet  seem  to  have  it. 

RC:  And  do  you  feel  that  you  also 
bring  as  much? 

RG:  I  think  what  I  bring  is — I'm  a 
fan.   I'm  a  real  fan.  I  really  admire  people 
who  are  doing  things  and  saying  things 
that  I'm  not — I  want  to  be  around  that 
and  learn  where  that  comes  from.   So  I 
meet  these  people  who  are  real  individu- 
als, who  are  great  at  what  they  do  and 
are  great  people,  and  I  want  to  figure  out 
how  to  be  that — or  what  that  is. 

RC:  But  do  you  think  that  you 
bring  as  much?  You're  a  fan,  but  would 
someone  say  the  same  about  you — 
that  Ryan  is  really  good  at  what  he 
does  and  is  an  excellent  individual, 
someone  I  want  to  be  around? 

RG:  Yeah.  I  feel  like  I've  had  the 
opportunity  to  do  some  pretty  amazing 
things  in  my  life  and  to  meet  some  pret- 
ty incredible  people.  So  I  love  to  meet 
people  who  haven't  had  those  experiences 
and  tell  them  about  them.  And  I  know 
that  I  affect  people  when  I  do.  I  feel  like 
that's  what  I  do  when  I  work — I  just  try 
to  tell  people  about  the  experiences  I've 
had.  I  think  that's  what  I  have  to  offer. 

RC:  The  film  that  you're  shooting 
right  now  is  called  Half  Nelson — tell 
me  a  little  about  that. 

RG:  Ryan  Fleck  and  Anna  Boden  had 
a  short  film  called  Gowanus,  Brooklyn 


that  won  Best  Short  at  Sundance,  and 
they're  making  it  into  a  feature.  I've 
never  had  more  fun  making  a  movie, 
ever.  $700,000  budget,  there's  only  like  a 
couple  of  actors  in  it,  and  everyone  else 
is  kind  of  just  living  their  life  in  the 
movie. 

RC:  It's  about  a  social  studies 
teacher  and  his  student  at  a  public 
school  in  Brooklyn,  right?  Where  are 
you  shooting? 

RG:  In  Fort  Greene.  It's  great.  I'm  liv- 
ing three  blocks  away  from  the  school 
where  I'm  teaching.  I  wake  up  at  6:30 
am,  I  go  to  class — I  teach  25  kids,  who 
are  in  the  school  that  they  go  to. 

RC:  It's  a  white  teacher  and  a  young 
black  female  student? 

RG:  My  character  sees  this  student 
who's  at  a  point  in  her  life  where  she's 
ready  for  somebody  like  him,  but  he 
doesn't  know  who  he  is.  They're  both 
trying  to  be  the  people  that  they  see  in 
each  other.  I  really  wanted  to  work  this 
way — where  you  get  to  throw  anything 
at  the  wall  and  see  what  sticks,  which 
you  don't  get  to  do  when  there's  a  lot  of 
money  at  stake. 

RC:  Well  that's  the  idea  behind 
independent  film,  right? 

RG:  Right,  but  this  is  it  in  effect.  This 
is  exactly  why  you  want  to  make  inde- 
pendent movies  because  you  get  to  really 
figure  it  out.  You  get  to  try  things  that 
you're  not  sure  about  and  see  if  they 
work.  "& 


September  2005  I  The  Independent    35 


BY  DEREK  LOOSVELT 

"To  be  good  at  landing  financing,"  says  Alexis  Alexanian, 
producer  of  Tape  (2001),  Tadpole  (2002),  and  Pieces  of  April 
(2003),  "you  have  to  be  resilient  and  willful,  understand  mar- 
keting and  the  marketplace.  You  have  to  know  what  you  need 
and  who  your  film  will  appeal  to." 

Maggie  Renzi,  whose  production  credits  include  Sunshine 
State  (2002),  Silver  City  (2004),  and  nine  other  films  directed 
by  John  Sayles,  adds  that  finding  funds  for  independent  features 
isn't  a  question  of  winning  but  of  survival.  "You  have  to  learn 
how  to  duck  and  dodge,"  she  says.  "With  no  system  in  place  to 
finance  these  films,  you're  at  the  mercy  of  business  trends." 

Today,  this  means  battling  against  the  increasing  reliance  on 
star  power — name  actors  and  name  directors — to  land  funding. 
As  an  example,  Renzi  points  to  the  difficulty  she  had  locating 
production  money  for  Sayles'  Silver  City,  whose  cast  includes 
Chris  Cooper,  Richard  Dreyfuss,  Tim  Roth,  Thora  Birch,  and 
Daryl  Hannah,  among  others.  "Sure,"  she  says,  "we  didn't  have 
Brad  Pitt,  but  come  on." 

Although  Sayles'  name  guarantees  little  in  the  way  of  pro- 
duction money  in  today's  marketplace,  Renzi  notes  that  names 
such  as  Pedro  Almodovar's  do.  "And  [Jim]  Jarmusch's  stock  is  up 
again,"  she  says.  "Though  he'd  be  the  first  to  tell  you  it  could 


The  current  state 
of  independent 
film  financing 

fall  at  any  moment.  So  much  is  getting  funded  on  what's  young, 
hip,  and  now." 

Still,  it's  the  young — and  often  gifted — first-time  filmmakers 
who  have  the  hardest  time  locating  funds,  typically  financing 
projects  through  companies  such  as  Visa  and  MasterCard  in  the 
form  of  high  interest  rate,  credit  card  debt.  Other  common 
avenues  for  first-timers  include  loans  from  family  and  friends, 
and  setting  up  limited  liability  partnerships,  conglomerations  of 
individual-investor  production  dollars  traded  for  equity  stakes. 

First-time  director  Georgina  Riedel,  whose  film  How  the 
Garcia  Girls  Spent  Their  Summer  (2005)  premiered  at  the 
Sundance  Film  Festival  last  January,  went  to  her  bank  account, 
her  family,  and  a  few  other  people  for  funding.  "I  did  a  lot  of 


36  The  Independent  I  September  2005 


begging,"  she  says.  "You  can't  have  any  shame." 

As  is  customary  and  often  essential  on  lower-budget,  inde- 
pendent films,  most  of  Garcia  Girls  actors  and  crew  worked  for 
close  to  nothing  or  deferred  their  salaries  for  future  earnings.  In 
addition,  Riedel,  her  DP,  and  her  editor,  who  had  all  worked  in 
the  industry  before,  making  shorts,  mined  their  contacts  for 
favors.  "You  have  to  tell  people  straight  up  what  you  can 
afford,"  she  says.  "For  example,  we  gave  the  film  lab  a  number 
and  told  them,  'This  is  all  we  can  pay.'" 

Riedel  says  she  received  a  lot  of  help  that  way,  adding  that  she 
might've  received  even  more  had  she  first  attached  Elizabeth 
Pena  and  America  Ferrara,  two  of  Garcia  Girls  more  well- 
known  actors.  Both  signed  on  just  one  week  before  filming 
began.  Acknowledging  that  it's  difficult  to  get  money  without 
actors  and  difficult  to  get  actors  without  money,  Riedel  says 
next  time  she'll  do  her  best  to  attach  actors  before  looking  for 
money. 

With  or  without  names,  Alexanian  stresses  the  importance  of 
putting  a  project  in  front  of  as  many  people  as  possible,  includ- 
ing independent  distributors,  talent,  corporations,  and  individ- 
uals. "Everybody's  looking  for  something,"  she  says. 
"Sometimes  it  works  quickly,  sometimes  it  takes  years." 

The  good  news  for  first-time  and  experienced  independent 
filmmakers  alike  is  the  increasing  number  of  open  financing 
avenues.  Ten  years  ago,  most  independent  production  companies 
were  forced  to  look  outside  their  offices  for  funding,  but  now,  sev- 
eral firms  such  as  IFC  and  Hart  Sharp  Entertainment  have  their 
own  production  money.  Independent  studio  arms  such  as 
Paramount  Classics,  Sony  Pictures  Classics,  and  Fox  Searchlight 
pictures  have  deep  pockets  for  finance  distribution,  and  foreign 
production  companies  are  actively  paying  for  the  rights  to  dis- 
tribute US  films  overseas.  (To  understand  to  what  extent  and  to 
learn  the  names  of  the  foreign  companies  doing  this,  log  on  to  the 
Internet  Movie  Database,  www.imdb.com,  and  check  out  the 
"company  credits"  link  on  a  few  recent  US  indie  titles.) 


Georgina  Riedel,  writer/director  of  How  the  Garcia  Girls  Spent 
Their  Summer  Vacation  (Jesse  Grant/Wirelmage.com) 


Equally  important,  the  cable  and  DVD  markets  are  provid- 
ing additional  outlets  for  films  and  longer  film  lives,  boosting 
financing  alternatives  in  the  process.  Equity  investment  compa- 
nies that  exclusively  focus  on  film  are  popping  up  more  and 
more,  and  independent  production  entities  such  as  HDNet 
Films  {Enron:  The  Smartest  Guys  in  the  Room,  2005)  and 
InDigEnt,  Alexanian's  employer  when  she  produced  Pieces  of 
April  and  Tadpole,  have  structured  themselves  to  make  films  the 
Dogme  95  way,  capitalizing  on  digital  technology  to  develop 
several  movies  a  year  with  relatively  low  budgets.  {Pieces  of  April 
was  made  for  about  $300,000;  Tadpole  for  $150,000.) 

Although  technological  advances  have  certainly  made  film- 
making more  democratic,  giving  more  people  the  financial  abil- 
ity to  pick  up  a  camera  and  make  a  film,  many  producers  agree 
that  the  quality  of  films,  in  general,  has  gone  down  as  a  result. 
"People  are  jumping  in  too  early,"  says  Alexanian.  "You  need  to 
have  a  solid  script,  especially  in  a  low-budget  digital  production. 
A  solid  foundation  is  essential."  Other  ramifications  also  exist. 
"With  so  many  self-funded  films,  producers  and  distributors 
have  so  much  product  to  choose  from  that  they  don't  think  they 
have  to  get  in  [on  the  financing]  early,"  Renzi  says.  "The  per- 
ception is,  'Anyone  can  make  a  film.'" 

Renzi  admits  the  problem  isn't  technology.  Instead  she 
blames  "the  general  degradation  of  viewers'  choices.  It's  sad  we 
have  to  force  people  to  go  to  the  movies  to  see  better  films." 


September  2005  I  The  Independent  37 


The  proliferation  of  the  film  festival  also  has  a  dual  effect. 
Though  festivals  provide  outlets  for  nearly  every  genre  of  film, 
showcasing  projects  to  the  all-important  distributors,  they  also 
boost  supply  at  the  expense  of  demand.  "It's  marvelous  that 
there's  an  entire  list  of  festivals  that  no  one's  ever  heard  of,"  says 
Esther  Robinson,  Creative  Capital's  program  director  for  per- 
formance and  film/video.  "But  with  so  much  out  there,  compa- 
nies can  fill  their  channels  while  paying  very  little.  And  they  can 
wait  until  films  are  completed  to  do  it."  Robinson  adds  that  it's 
feasible  to  spend  $15,000  to  $20,000  to  produce  a  rough  cut. 
"But  for  a  quality  feature  that  has  a  life,"  she  says.  "You  can't 
make  it  for  anything  under  $300,000."  (For  a  sense  of  what  dif- 


The  resilient  Alexis  Alexanian  produced   Tape — starring  Ethan 
Hawke  and  Robert  Sean  Leonard  (IFC) 


ferent  amounts  of  money  might  get  you,  Sideways  (2004)  was 
made  for  an  estimated  $16  million,  Crash  (2004)  for  $6  million, 
The  Station  Agent  (2003)  for  $500,000,  and  last  year's  Sundance 
Film  Festival  Dramatic  Grand  Jury  Prize-winner  Primer  (2004) 
for  $7,000.) 

Though  the  promised  land  for  most  first-time  filmmakers  is 
a  dark  theater  in  Utah  where  hundreds  of  bodies  fill  reclining 
seats  and  a  multi-million  dollar  distribution  deal,  the  odds  of 
getting  there  are  anything  but  good.  The  Sundance  acceptance- 
to-application  ratio  for  features  stands  at  about  2  percent,  and 
each  year  only  a  handful  of  accepted  films  get  picked  up  for  the- 
atrical release.  A  few  more,  to  an  even  lesser  extent,  will  be 
bought  at  the  New  York  Film  Festival  and  Austin's  South  by 
Southwest  Film  Festival.  To  date,  Riedel's  Garcia  Girls  has  yet  to 
find  a  distributor,  though  she  does  have  a  sales  rep  (a  company 
that  signed  on  before  the  film  landed  Sundance),  as  well  as  a 
healthy  amount  of  optimism.  Garcia  Girls  recently  won  an  audi- 
ence award  at  North  Carolina's  RiverRun  International  Film 
Festival,  and  Riedel  says  she's  been  as  far  as  Portugal  and 
Moscow  to  promote  the  film,  "trying  to  get  the  word  out." 

According  to  Robinson,  quality  projects  are  out  there,  but  the 
money  isn't.  At  Creative  Capital,  she  receives  some  1,800  grant 
applications  from  film  and  video  makers  each  year.  Of  those, 
about  twenty  receive  project  grants  of  up  to  $50,000  each.  "If 
we  had  the  money,"  she  says,  "I'd  fund  between  fifty  and  seven- 
ty without  hesitation." 


Indeed,  grants,  while  viable  financing  options,  aren't  easy  to 
get — and  some  might  take  more  than  they  give.  Riedel,  who 
applied  for  grant  money  to  fund  Garcia  Girls  during  the  two 
years  she  spent  making  the  film,  says,  "We  didn't  think  $20,000, 
which  isn't  that  much,  in  exchange  for  signing  over  TV  rights  or 
having  to  premier  on  a  certain  channel  made  sense."  Riedel 
decided  to  forego  the  grant  route,  opting  to  finance  on  her  own. 
"There  are  a  lot  of  good  grants  out  there,"  she  concedes.  "But  if 
they  want  something  in  return,  in  the  end  they're  not  worth  it." 
Robinson,  Renzi,  and  others  note  that  the  deepest  pocket  of 
money  in  the  country — the  US  government — has  become  a  lot 
lighter  with  respect  to  financing  films.  In  1996,  the  National 
Endowment  for  the  Arts  (NEA)  ended  its  practice  of  giving 
grants  to  individual  filmmakers.  Although  the  NEA  still  doles 
out  generous  amounts  of  money  to  film  and  video  festivals  and 
organizations  (including  the  AIVF,  parent  organization  of  this 
publication),  the  lack  of  individual  grants  places  US  filmmakers 
at  a  financial  disadvantage  when  compared  to  their  counterparts 
in  Europe,  Canada,  and  Australia  where  the  independent  film 
financing  system  largely  functions  on  government  money.  One 
of  the  better  known  NEA  grant  recipients  is  Todd  Haynes, 
writer  and  director  of  Safe  (1995),  Velvet  Goldmine  (1998),  and 
Far  from  Heaven  (2002).  His  first  feature,  Poison  (1991),  anoth- 
er Sundance  Grand  Jury  Prize-winner,  was  partly  funded  by  an 
NEA  grant. 

The  US  also  lags  behind  other  countries  in  providing 
investor  tax  relief  to  film  investors.  In  an  attempt  to  curb  run- 
away productions  (films  made  in  a  foreign  country  solely  to  cut 
costs),  a  film  and  TV  provision  was  included  in  the  American 
Jobs  Creation  Act  of  2004.  Although  the  provision  gives  tax 
incentives  to  filmmakers  with  budgets  between  $1  million  and 
$20  million  in  return  for  producing  within  US  borders,  it  does 
little  to  mask  the  country's  lack  of  co-production  agreements, 
which  allow  films  to  receive  "domestic"  status  in  more  than  one 
country  and  thus  access  to  government  financing  and  investor 
tax  credits  in  more  than  one  country  as  well.  Many  of  the  largest 
film-exporting  nations,  including  Canada,  France,  Germany, 
Australia,  Italy,  India,  and  China,  have  signed  these  agreements 
with  one  another.  So,  for  example,  if  a  Canadian-Australia  film 
qualifies  as  a  co-production,  the  project  would  have  access  to 
financing  money  from  government  agencies  such  as  Telefilm 
Canada  and  Film  Finance  Corporation  Australia  as  well  as  to  tax 
benefits  to  filmmakers  in  both  countries. 

Carole  Dean,  director  of  the  Roy  W.  Dean  Film  and  Writing 
Grants,  which  regularly  gives  grants  to  digital  indie  filmmakers  of 
close  to  $50,000,  is  optimistic.  She  says  the  time  is  ripe  for  new 
ideas  in  marketing  and  cautions  filmmakers  against  judging  films 
on  the  size  of  their  audiences,  noting  that  a  film  viewed  by  small 
audiences  can  still  repay  investors  and  turn  a  profit,  allowing  its 
creator  to  develop  another.  Dean  advises  filmmakers  "not  to  let 
anyone  give  up  DVD  distribution  unless  they  get  a  bundle.  This 
distribution  window  is  enormous.  It's  become  one  of  the  best 
income  generators  for  filmmakers."  She  also  says  "not  to  worry  if 
you're  panned  or  banned.  Experiment.  Be  bold.  Be  brave.  Create 
your  own  filmmaking  rules  and  keep  stretching  yourself  and  your 
work — and  let  the  industry  catch  up  with  you." 


38  The  Independent  I  September  2005 


John  Sayles's  film  Silver  City,  whose  cast  includes  Chris  Cooper,  Richard  Dreyfuss,  Tim  Roth,  Thora  Birch,  and  Daryl  Hannah,  among  others, 
originally  had  trouble  finding  financing  (Newmarket  Films) 


In  the  meantime,  producers  are  finding  it  increasingly  neces- 
sary to  be  as  creative  as  filmmakers.  For  Sayles'  latest  film, 
Honeydripper,  Renzi  went  to  the  home  entertainment  commu- 
nity, where  Sayles'  films  do  very  well,  after  exhausting  "the  peo- 
ple we've  worked  with  before."  She  was  able  to  strike  a  produc- 
tion deal  with  Netflix.  Or  the  DVD  rental  service,  Renzi  says, 
"They're  great.  They  don't  claim  to  know  what  they  don't  do." 
Honeydripper  will  be  the  first  film  Netflix  has  produced  [see 
page  44]. 

Brad  Anderson,  director  of  Next  Stop  Wonderland  (1998)  and 
Happy  Accidents  (2000)  took  his  latest  film  overseas  to  get 
money.  He  couldn't  land  funding  in  the  US  for  The  Machinist 
(2004)  even  with  Batman  Begins  star  Christian  Bale  attached. 
Ultimately,  Anderson  financed  it  in  Spain  where  his  cult-film 
Session  9(2001)  had  racked  up  some  impressive  receipts.  As  part 
of  the  deal,  Spanish  production  company  Filmax  International 
required  the  film  to  be  shot  in  Barcelona. 

Alexanian  tells  a  similar  story  about  financing  Long  Way 
Round  (2004),  a  documentary  series  following  actors  Ewan 
McGregor  and  Charley  Boorman  on  a  motorcycle  trip  around 
the  world.  "It  sounded  like  a  winner,"  says  Alexanian,  who  now 
runs  Elixir  Films  with  her  brother  David  Alexanian,  Long  Way 


Rounds  director.  "We  had  a  lot  of  faith  in  Ewan  McGregor 
and  Charley  Boorman,  and  it  was  much  better  than  the 
crappy  reality  TV  projects  we  typically  get.  But  when  we 
took  it  to  the  marketplace,  the  TV  industry  wanted  to  know 
exactly  what  it  was.  People  were  asking,  'Is  this 
"Survivor"?'" 

Alexanian  didn't  want  Long  Way  Round  to  be  pigeonholed 
and,  as  a  result,  Elixir  ended  up  cash-flowing  it  in  its  early 
stages.  After  unsuccessful  attempts  to  get  money  from  large 
corporations  such  as  BMW,  Elixir  saw  the  potential  for  a 
book  tie-in  and  took  the  idea  to  a  UK-based  publisher,  who 
bought  the  rights.  The  money  from  that  deal  helped  finance 
part  of  the  series. 

Alexanian  admits  Elixir  was  lucky  to  be  in  a  position  to 
be  able  put  up  bridge  money,  adding,  however,  "We  were 
[also]  willing  to  take  that  risk."  Indeed,  faith  in  a  project 
and,  certainly,  a  solid  project  are  keys  to  locking  up  financ- 
ing. Beyond  that,  it'll  depend  on  how  resourceful  you  are. 
"No  matter  what  your  background  is,  you  have  to  be  entre- 
preneurial," says  Alexanian.  "Anything  can  happen  with  a 
little  ingenuity."  -k 


September  2005  I  The  Independent  39 


Picture's 

Up 


BY  ETHAN  ALTER 

Everything  you  need  to  know  about  Bob  Berney's  taste  in 
movies  can  be  summed  up  by  one  simple  fact:  growing  up,  his 
favorite  film  was  Stanley  Kubrick's  seminal  sci-fi  head-trip 
2001:  A  Space  Odyssey  (1 968).  Of  course,  like  most  of  us,  he  also 
had  a  soft  spot  for  more,  let's  say,  lowbrow  fare.  "As  a  kid,  I 
remember  loving  all  those  Ray  Harryhausen  movies,"  says 
Berney  in  a  recent  phone  interview,  referring  to  the  producer 
and  visual  effects  guru  best  known  for  cult  classics  like  Clash  of 
the  Titans  (1981),  and  Jason  and  the  Argonauts  (1963).  "But 
2001  was  the  first  one  where  I  really  recognized  the  director  and 
his  style.  I  think  Kubrick  probably  had  that  effect  on  a  lot  of 
future  film  people." 

2001  is  also  an  apt  choice  because  it  was  largely  under  appre- 
ciated by  the  industry  at  the  time  of  its  release.  And  as  one  of 
the  country's  leading  distributors  of  independent  films,  Berney 
knows  all  about  Hollywood's  tendency  to  overlook  good 
movies.  After  all,  he's  built  a  career  out  of  taking  chances  on 
films  that  other  companies  wouldn't  touch.  Among  the  movies 
he's  helped  steer  towards  box-office  success — and,  in  some  cases, 
Oscar  glory — are  Memento  (2000),  Y  Tu  Mama  Tambien 
(2001),  and  Monster  (2003).  He  was  also  the  man  behind  the 


curtain  on  two  of  the  biggest  grossing  independent  films  of  all 
time — My  Big  Fat  Greek  Wedding  (2002)  and  The  Passion  of  the 
Christ  (2004). 

Berney's  uncanny  ability  to  spot  a  winner  coupled  with  his 
sheer  passion  for  film  has  made  him  a  sought-after  commodity 
of  distribution  companies  and  independent  filmmakers  alike. 
"When  you  get  Bob,  you  don't  just  get  a  head  of  distribution," 
says  Robert  Schwartz,  who  first  worked  with  Berney  ten  years 
ago  at  Orion  Pictures  and  later  followed  him  to  high-profile  gigs 
at  IFC  Films  and  Newmarket  Films.  "You  get  a  head  of  distri- 
bution, a  head  of  marketing  and  a  head  of  acquisitions  all 


40  The  Independent  I  September  2005 


Bob  Berney  steered  two  risky  films  Y  Tu  Mama  Tambien  and  Memento  towards  major  box  office  success 


wrapped  up  into  one  person.  It's  a  rarity  that  you  get  someone 
with  all  three  talents.  He  has  the  vision  to  see  a  film  that  others 
may  view  as  difficult  or  challenging  and  know  right  off  the  bat 
how  he's  going  to  get  it  out  there." 

Now  Berney  is  taking  on  yet  another  new  challenge  as  presi- 
dent of  the  latest  addition  to  the  theatrical  distribution  scene, 
Picturehouse.  Formed  and  co-owned  with  HBO  and  New  Line 
Cinema,  Picturehouse  enters  the  game  with  an  eclectic  mix  of 
nine  films  slated  to  roll  out  over  the  next  year.  Some  titles  fea- 
ture the  usual  indie  suspects  like  Gus  Van  Sant  and  Michael 
Winterbottom,  while  others  have  a  decidedly  more,  dare  we  say, 
mainstream  feel.  According  to  Berney,  that  variety  is  part  of  the 
goal  behind  Picturehouse.  "We  want  to  make  a  statement  that 
we're  going  to  do  all  sorts  of  films,  not  just  the  ones  you'd 
describe  as  art-house  movies,  but  any  movie  that  makes  sense," 
he  says.  "Obviously  we  won't  do  big-budget  action  pictures,  but 
we'll  be  open  to  a  diversity  of  genres,  scopes,  budgets  and  releas- 
es. There  are  no  restrictions  at  Picturehouse." 

Bold  words,  especially  considering  that  Picturehouse  isn't  as, 
say,  independent,  as  IFC  or  Newmarket  (neither  of  which  are 
entirely  independent  themselves,  but  that's  another  story). 
Instead,  it  fits  alongside  New  Line  and  HBO  under  the  giant 
umbrella  known  as  Time  Warner,  which  means  that  Berney  now 
has  corporate  suits  to  answer  to — some  of  whom  may  have 
restrictions  of  their  own.  But  Berney  is  quick  to  say  that  he's 
been  given  a  great  deal  or  autonomy  in  setting  up  his  new  ven- 
ture. "Besides,"  he  adds,  "if  you  think  about  it,  New  Line  start- 
ed out  as  an  independent  company  that  acquired  films.  And 
HBO  Films  is  known  for  creative  risk-taking.  So  the  goal  is  to 
make  sure  that  the  spirit  within  those  companies  carries  over 
into  Picturehouse." 

As  far  as  Berney  s  associates  are  concerned,  if  anyone  can  nav- 
igate the  fine  line  between  art  and  commerce  within  a  corporate 
structure,  it's  him.  "Bob  has  always  taken  chances  and  he'll  con- 


tinue to  take  chances,"  says  producer's  representative  Jeff  Dowd, 
who  has  known  Berney  professionally  and  personally  for  more 
than  twenty  years.  "I  don't  think  he's  going  to  get  more  conser- 
vative with  his  new  resources.  In  fact,  I  think  it's  fair  to  say  that 
one  of  the  reasons  he  took  this  job  is  that  he  wanted  the  oppor- 
tunity to  take  more  chances." 

In  Dowd's  opinion,  the  secret  to  Berney's  success  as  a  distrib- 
utor lies  in  his  background  in  theatrical  exhibition.  After  grad- 
uating with  a  degree  in  radio,  television,  and  film  from  the 
University  of  Texas  at  Austin  in  1976,  Berney  purchased  Dallas's 
Inwood  Theater,  which  he  transformed  into  an  art  house  that 
screened  independent  and  foreign  films.  (The  cinema  still  oper- 
ates today  as  part  of  the  Landmark  Theaters  chain.)  Dowd 
remembers  meeting  Berney  for  the  first  time  at  the  Dallas  Film 
Festival  when  he  was  making  the  rounds  with  Blood  Simple  (the 
Coen  brothers'  1984,  indie-tour-de-force).  "At  that  time,  there 
were  a  lot  of  pictures  that  studios  didn't  think  were  going  to 
work,  but  Bob  knew  they  were  working  because  he  saw  them 
with  local  audiences.  He  did  a  lot  of  listening  and  learning,  and, 
as  a  result,  he  understands  how  specialized  films  might  work  at 
a  local  theater.  In  his  mind,  he's  thinking:  'I've  seen  it  work  here 
and  I'm  sure  it  will  work  other  places." 

Berney  eventually  left  exhibition  behind  lor  a  full-time  career 
in  marketing  and  distribution,  beginning  with  a  stint  at  Film 
Dallas,  part  of  the  now-defunct  New  World  Pictures.  From 
there,  he  moved  on  to  Triton  Pictures  where  he  worked  on  such 
movies  as  Hearts  of  Darkness:  A  Filmmakers  Apocalypse  (1991), 
In  the  Soup  (1992),  and  A  Brief  History  of Time  (199 i).  By  the 
mid-'90s,  he  had  moved  up  the  ladder  to  vice-president  of  mar- 
keting and  distribution  at  Orion  Pictures  and  later  at  Banner 
Entertainment.  He  was  still  with  Banner  when  he  got  involved 
in  the  release  of  Todd  Solondz's  sophomore  film,  Happiness,  in 
1998.  The  original  distributor,  October  Films,  had  dropped  the 
movie  after  its  owner  Universal  Pictures  expressed  concerns 


September  2005  I  The  Independent  41 


about  its  content.  So  Berney  stepped  in  and  created  an  inde- 
pendent distribution  arm  out  of  Good  Machine,  which  pro- 
duced Happiness,  to  get  the  film  out  to  theaters.  The  movie's 
subsequent  critical  and  commercial  success  convinced  Berney  to 
strike  out  on  his  own  as  an  independent  marketing  and  distri- 
bution consultant.  Two  years  later,  he  stumbled  upon  a  low- 
budget  thriller  told  in  reverse  called  Memento  and  brought  it  to 
the  attention  of  the  fledgling  Newmarket  Films.  And  with  that, 
his  streak  of  successes  began. 

When  asked  if  he  has  some  kind  of  a  sixth  sense  for  spotting 
hits,  Berney  just  laughs.  "I  wish  I  did.  It's  too  crazy  and  preten- 
tious to  think  that  way,  because,  really,  there  are  always  going  to 
be  ups  and  downs.  You  start  over  on  every  new  project;  no  mat- 
ter what  kind  of  success  you've  had  before,  you  still  have  to  look 
at  the  next  one  and  figure  out  how  it's  going  to  work."  Still,  it's 
not  surprising  that  his  associates  think  he  may  have  some  kind 
of  cinematic  ESP.  "The  track  record  he's  had  is  not  by  accident," 
says  Schwartz.  "It  is  what  it  is  for  a  reason.  It's  true  that  no  one 
picks  a  winner  even'  time,  Bob  included.  But  I  do  think  that  he 
has  great  instincts." 

For  his  part,  Berney  credits  those  instincts  to  a  variety  of  fac- 
tors, from  seeing  how  a  movie  plays  with  an  audience  to  his 
own  personal  response.  "It  can  be  a  really  visceral  reaction,"  he 
explains.  "If  you're  feeling  something  about  a  film  that's  really 
different  or  there's  a  performance  that's  exciting  or  a  visual  style 
that  pulls  you  in.  It's  different  on  every  one.  I  remember  on  Y 
Tu  Mama  Tambien  I  was  struck  by  the  road-trip  feel  of  it.  And 
with  Whale  Rider  (2002)  it  was  the  performance  by  Keisha 
Castle-Hughes  and  the  emotional  payoff  that  came  at  the  end." 
But  he  also  admits  that  oftentimes  success  just  comes  down  to 
good  old-fashioned  luck.  "Luck  and  timing  are  big  factors  and 
sometimes  you  can  be  completely  off.  I  don't  pretend  to  have  a 
formula — you're  just  trying  to  look  at  what  you  think  works 
and  how  the  financial  aspects  of  the  deal  might  fit  with  the 
company  that  you're  with.  Sometimes  all  these  decisions  just 
come  aligned  together  at  once.  And  sometimes  it's  just  magic." 

Berney's  new  partners  at  HBO  and  New  Line  are  clearly  hop- 
ing that  he'll  be  able  to  tap  into  some  of  that  magic  as  he  gets 
Picturehouse  up  and  running.  "Bob's  reputation  in  the  inde- 
pendent film  world  is  really  without  match  in  terms  of  being 
able  to  find  and  build  audiences  for  movies  that  other  people 
don't  see  how  to  market,"  says  Keri  Putnam,  executive  vice  pres- 
ident of  HBO  Films.  "He  was  really  our  first  thought  to  run 
Picturehouse,  and  we  were  very  lucky  to  get  him."  The  new  ven- 
ture was  announced  at  the  Cannes  Film  Festival  in  May  to  coin- 
cide with  the  festival  premiere  of  Gus  Van  Sant's  new  film  Last 
Days,  which  was  released  under  the  Picturehouse  banner  in  July. 

Upcoming  releases  include  Michael  Winterbottom's  comic 
romp  A  Cock  and  Bull  Story  and  The  Notorious  Bettie  Page, 
directed  by  Mary  Harron  and  starring  Gretchen  Mol  as  the 
famed  50s  pinup  queen.  Picturehouse  will  also  be  exploring  the 
foreign  film  market  with  Ushpizin,  an  Israeli  comedy/drama 
about  a  married  pair  of  ultra-Orthodox  Jews  who  inadvertently 
get  involved  with  two  criminals.  "When  I  tell  people  that  one 
of  our  first  releases  is  an  Israeli  film  about  Orthodox  Jews,  they 


go  'Wow,  that's  different,'  and  kind  of  scratch  their  heads," 
Berney  says,  chuckling.  "It's  a  small  movie,  but  I  feel  that,  as 
with  Whale  Rider,  a  lot  of  universal  truth  comes  out  of  it.  I 
think  it's  going  to  surprise  people." 

Perhaps  the  film  that  Berney  is  most  excited  about,  however, 
is  The  Thing  About  My  Folks,  a  father-son  story  written  by  the 
actor  Paul  Reiser  and  starring  Reiser  and  Peter  Falk  that 
Picturehouse  is  releasing  this  month.  The  movie  was  a  labor  of 
love  for  the  former  "Mad  About  You"  star,  who  opted  to  pro- 
duce the  film  independently  in  order  to  retain  creative  control. 
When  shooting  wrapped  last  fall,  he  shopped  it  around  to  vari- 
ous distributors  but  was  disappointed  by  their  reaction.  "I'd 
meet  people  who  would  go,  'We  love  the  movie,  but  we  don't 
know  how  to  sell  it,"  Reiser  says.  "I'd  say  'What  do  you  mean?' 
and  they'd  go  'Oh  it's  too  hard.'  And  I'd  go,  'Of  course  it's  hard!' 
Everything  is  hard — making  a  movie  is  hard,  being  creative  is 
hard,  getting  up  in  the  morning  is  hard!"  Eventually,  Reiser 
hooked  up  with  Jeff  Dowd,  who  immediately  suggested  bring- 
ing the  movie  to  Berney's  attention.  In  February,  they  invited 
him  to  a  special  screening  of  Folks  close  by  his  home  in 
Westchester.  "We  chatted  after  the  screening,  and  he  said  'Let's 
talk  tomorrow,'"  says  Reiser.  "So  the  next  day  we  met  in  his 
office,  and  he  instantly  started  talking  about  how  we  should 
open  the  movie.  At  no  point  did  he  actually  say,  'I'd  like  to  do 
this.'  I  was  like,  'Go  back  a  minute  Bob. ..so  the  answer  is  yes?'" 

That  meeting  was  Reiser's  first  exposure  to  another  important 
component  of  Berney's  MO:  a  close  working  relationship  with 
the  filmmakers  and  talent.  "I  like  to  try  and  make  the  experi- 
ence personal  rather  than  just  layers  of  bureaucracy,"  explains 
Berney.  "I  get  a  lot  of  input  from  the  filmmakers  and  work  with 
them  on  the  marketing  and  release  pattern."  In  the  case  of  Folks, 
Berney  and  Reiser  have  several  marketing  schemes  in  the  works, 
including  web-based  advertising  and  the  production  of  special 
trailers  for  the  film  with  original  content.  Reiser  and  Falk  have 
also  committed  to  visiting  every  market  where  Folks  is  opening 
to  publicize  the  movie.  "We  talk  to  Bob  all  the  time,"  says 
Reiser.  "We  call  him  after  screenings  and  we  call  with  every  idea. 
And  he's  always  right  on  it — he  doesn't  dodge  phone  calls  or  e- 
mails.  It's  very  refreshing."  That  personal  attention  is  one  of  the 
reasons  Dowd  pushed  Reiser  to  meet  with  Berney  in  the  first 
place.  "Let's  just  say  that  Charlize  Theron  wasn't  kidding  when 
she  thanked  Bob  in  her  acceptance  speech  at  the  Oscars,"  Dowd 
says.  "There  was  a  very  strong  relationship  there — he  under- 
stood her  performance  and  how  people  would  respond  to  it." 

With  its  gentle  sense  of  humor  and  strong  familial  themes, 
Folks  has  the  potential  to  be  another  My  Big  Fat  Greek  Wedding, 
a  fact  that  everyone  at  Picturehouse  is  keenly  aware  of.  "We're 
all  looking  forward  to  big  things  on  that  film,"  admits  Schwartz, 
who  Berney  brought  over  from  Newmarket  to  serve  as  the  com- 
pany's COO.  Another  movie  generating  a  lot  of  buzz  within 
Picturehouse  is  the  Diane  Arbus  biopic  Fur,  directed  by 
Secretary's  Steven  Shainberg  and  starring  Nicole  Kidman  as  the 
renowned  shutterbug.  The  project  excites  Berney  not  only 
because  of  the  talent  involved,  but  also  because  it's  the  first  film 
that  he  directly  had  a  hand  in  shepherding  into  production. 


42  The  Independent  I  September  2005 


Peter  Falk  and  Paul  Reiser  in  The  Thing  About  My  Folks — one  of  Berney's  favorite  Picturehouse  films — to  be  released  this  month  (Picturehouse) 


"We  didn't  plan  on  having  a  production  going  out  of  the  gate — 
it  just  timed  out  very  well,"  he  says  matter-of-factly.  Shooting 
began  in  May  in  New  York  and  the  film  will  be  released  under 
the  Picturehouse  banner  sometime  next  year. 

While  Fur  marked  Berney's  first  foray  into  production,  don't 
expect  to  see  the  words  "A  Picturehouse  Production"  in  front  of 
every  one  of  the  company's  releases.  For  now,  his  focus  will 
remain  primarily  on  distribution.  As  they  go  about  building 
next  year's  slate,  one  thing  he  and  his  staff  are  still  working  out 
is  how  the  films  will  be  divided  up  amongst  Picturehouse,  New 
Line  and  HBO.  "There  are  a  few  different  ways  the  situation 
can  work,"  explains  Putnam.  "Bob  can  acquire  things  for 
Picturehouse,  or  Picturehouse  can  release  films  that  HBO  or 
New  Line  fully  financed,  or  films  that  we  jointly  financed.  He'll 
probably  also  come  up  with  other  creative  ways  to  find 
movies — including  projects  that  he'll  bring  to  the  table — but 
that's  the  arrangement  right  now." 

The  other  challenge  facing  Picturehouse  is  how  to  make  a 
name  for  itself  in  the  crowded  landscape  of  specialized  distribu- 


tion. In  fact,  when  the  deal  was  first  announced,  it  generated 
speculation  about  the  future  of  Time  Warner's  other  indie  divi- 
sion, Warner  Independent  Pictures.  Berney  stresses  that  Warner 
Independent  won't  be  affected  by  Picturehouse,  although  he 
does  add  that  New  Line's  own  specialty  arm,  Fine  Line,  will  be 
retired.  "I  think  Picturehouse  will  become  one  of  the  bigger  dis- 
tributors, in  the  area  of  Fox  Searchlight  or  the  former 
Miramax,"  he  says.  "But  I  think  we're  going  to  have  a  diversity 
that  other  companies  typically  don't  have.  We  won't  focus  on 
certain  kinds  of  films  or  only  productions  or  acquisitions." 

"Picturehouse  is  a  way  to  make  a  new  statement,"  Berney 
continues.  "New  Line  and  HBO  are  both  inherently  risk-tak- 
ing, filmmaker-oriented  companies,  and  this  is  a  way  for  us  to 
benefit  from  that  and  also  have  our  own  marketing  and  distri- 
bution expertise  brought  to  bear.  It  gives  us  a  lot  of  strength  and 
depth  to  make  movies.  Ultimately,  I  hope  that  Picturehouse 
won't  just  fit  into  an  existing  slot  on  the  independent  film  scene. 
Hopefully  we'll  create  a  new  slot.   ■& 


September  2005  I  The  Independent  43 


BY  ELIZABETH  ANGELL 


For  a  documentary,  Deadline  (2004)  was,  by  all  accounts,  a 
big  success.  The  film,  which  profiled  Illinois  Governor  George 
Ryan  and  his  decision  to  condemn  the  death  penalty  in  Illinois, 
toured  the  festival  circuit  to  rave  reviews  and  was  nominated  for 
a  Grand  Jury  Prize  at  Sundance  in  2004.  Producers  for  NBC's 
Dateline  made  the  unprecedented  decision  to  show  the  film  as  a 
one-hour,  prime-time  special,  the  first  time  the  network  had 
aired  an  independently  produced  documentary  in  such  a  times- 
lot.  Filmmakers  Katy  Chevigny  and  Kirsten  Johnson  tirelessly 
promoted  the  film  through  a  special  website  and  at  viewing  par- 
ties. It  even  made  it  into  a  few  theaters.  For  a  film  about  an  issue 
as  thorny  as  the  death  penalty,  it  was  a  pretty  good  run. 


Then  Netflix  purchased  a  number  of  copies  of  the  DVD,  and 
Chevigny  and  Johnson  found  that  all  their  work  to  get  the  film 
seen  at  festivals,  on  television,  and  through  outreach  programs 
was  merely  a  prelude  to  the  afterlife  their  film  would  find  in 
countless  Netflix  queues.  It  is  now  doing  brisk  business  on  the 
website,  with  a  new  audience  who  might  never  have  had  the 
chance  to  see  the  film  a  few  years  ago. 

"Prior  to  Netflix,  you  were  dependent  on  this  perfect  storm 
of  circumstances  for  anyone  to  see  your  film,"  Chevigny  says. 
"They  had  to  know  about  it,  be  free  to  go  see  it  on  the  night  it 
was  playing,  to  have  the  cash,  to  not  flake  out.  Now,  all  we  need 
is  someone  who  says  'I  want  to  see  that  movie.'" 


44  The  Independent  I  September  2005 


DVD-by-mail    services — dominated    by    industry    pioneer  shown  only  once,"  he  says.  "You  never  know  when  a  topic  may 

Netflix — may  be  fundamentally  changing  the  landscape  for  come  up  and  a  documentary  will  suddenly  be  relevant  all  over 

independent  filmmakers.  Netflix  currently  has  about  3  million  again.  These  films  exist  in  theater  and  on  television,  but  they 

members  in  the  United  States.  That's  a  small  fraction  of  the  70  live  on  DVD." 

million  US  homes  with  DVD  players,  but  it's  a  number  that  the  Sarandos  cites  the  success  of  Capturing  the  Friedmans  (2003), 

company  says  is  growing  rapidly.  They  currently  mail  a  million  Andrew  Jarecki's  film  about  a  family  of  accused  pedophiles,  as 

titles  every  day  from  35  shipping  centers.  Of  the  over  45,000  one  of  Netflix's  biggest  successes.  According  to  Sarandos,  Netflix 

titles  in  stock,  almost  35,000  are  in  circulation  at  any  given  accounted  for  about  70  percent  of  the  revenue  that  HBO  Home 

time.  Indies  make  up  a  good  portion  of  that  active  inventory,  Video  pulled  in  for  Capturing  the  Friedmans.  "[The  film]  was 

meaning  Netflix  has  the  power  to  make  a  big  difference  to  a  lit-  hard  to  market  because  of  the  topic,  but  it  was  a  high  quality 


tie  film. 

In  the  past,  most 
independent  films 
were  on  their  way  to 
obscurity  almost 
from  the  time  that 
they  wrapped. 

Many  found  their 
largest  audience  at 
film  festivals.  A 
small  number  got 
theatrical  distribu- 
tion, and  an  even 
tinier  number  made 
it  onto  the  shelves  of 
Blockbuster  or  Best 
Buy  where  people 
who  missed  them 
in  theaters  could 
maybe  discover 

them.  But  if  movie- 
goers didn't  live  in  a 
major    market,    where 


Capturing  the  Friedmans  is  one  of  Netflix's  biggest  successes  (Andrew  Jarecki) 


film  and  there  was  a  high 
level  of  awareness,  and 
that  created  a  place  for  it 
online." 

The  popularity  of  inde- 
pendents and  documen- 
taries on  Netflix  can  be 
credited  to  the  company's 
internet-based  business 
model,  which  is  funda- 
mentally different  than 
that  of  traditional  video 
rental  outlets.  In  order  for 
Blockbuster  to  make  a 
profit  on  a  film,  it  has  to 
move  several  copies  of  one 
title.  Hence,  stores  filled 
with  Harry  Potter  and 
Phantom  Menace.  The 
heavy  promotional  budget 
and  resulting  ubiquity  of 
such  films  virtually  ensures 
that  renters  will  seek  them 


arthouse  theaters  booked  something  other  than  studio  fare,  they  out.  Netflix  stocks  these  titles,  but  it  also  stocks  thousands  of 

missed  most  independents.  more  obscure  films — mostly  classics,  and  independent  and  for- 

"That's  been  a  critical,  unsolvable  problem  for  30  years,"  says  eign  titles — and  these  account  for  a  good  deal  of  its  business. 
Chevigny.  "What  DVDs  generally — and  Netflix  specifically —  "The  American  movie-going  public  has  an  appetite  for  a  broad, 
are  able  to  do  is  capitalize  on  that  buzz  and  word  of  mouth  for  diverse  range  of  movies  and  our  model  has  always  been  to  pro- 
people  who  are  interested  in  independent  films  and  documen-  vide  something  for  everyone,"  says  Steve  Swasey,  Netflix's  direc- 
tary.  You  have  to  be  able  to  feed  that  interest  with  ready  access,  tor  of  corporate  communications, 
and  Netflix  can  do  that."  Call  it  the  "long-tail  effect."  Last  year,  Wired  magazine's  Chris 

Netflix  didn't  bring  Chevigny  and  Johnson  profitability,  but  it  Anderson   wrote   an   influential   piece   about   something   that 

did  reassure  them  that  their  film  was  more  than  a  pet  project.  "I  online  retailers  have  known  about  for  years:  the  power  of  near 

don't  know  whether  [online  DVD  rentals]  will  affect  our  finan-  infinite  choice  to  drive  business  away  from  mainstream  media 

cial  survival,"  says  Chevigny.  "But  it's  critical  to  our  mission  and  and  towards  a  far  broader  spectrum  of  movies,  books,  and 

to  our  justification  that  we're  making  an  impact.  If  people  can't  music.  The  "long  tail"  describes  a  graph  that  spikes  early  and 

see  our  films,  it's  almost  like  they're  not  movies  anymore."  then  tapers  out  into  a  long,  flat  appendage.  The  spike  represents 

For  Netflix's  Chief  Content  Officer,  Ted  Sarandos,  that's  wel-  best  sellers:  Spiderman  (2002)  or    The  Da  Vinci  Code  or  Britney 

come  news.  "It  is  so  frustrating  that  films  are  made  and  then  Spears  albums.  These  sell  many,  many  copies  and  would  justify 


September  2005  I  The  Independent  45 


"Prior  to  Netflix,  you  were  dependent 
on  this  perfect  storm  of  circumstances 

for  anyone  to  see  your  film." 
— Filmmaker  Katy  Chevigny,  Deadline 


real  estate  on  the  bookshelves  and  movie  screens  of  any  city  or 
town.  They  do  big  business  for  Netflix  and  Amazon  too,  but 
they  make  up  only  a  portion  of  online  sales.  The  long,  flat  tail 
represents  everything  else:  obscure  short-story  collections,  Vera 
Drake  (2004),  Sigur  Ros  albums.  No  one  item  does  that  much 
business,  but  taken  all  together,  these  titles  sell  many  more 
copies  than  Ms.  Spears  ever  could. 

"Niche  content  finding  a  niche  audience  has  been  the  inter- 
net's promise  since  the  beginning,"  says  Bo  Peabody,  a  venture 
capitalist  who  is  funding  a  DVD-by-mail  site  that  launches  this 
fall.  (He  declined  to  give  details,  citing  the  ease  with  which 
competitors  might  adapt  his  idea  for  their  own  purposes.) 

Netflix  can  afford  to  stock  its  warehouses  with  titles  that 
might  appeal  to  only  a  few  thousand  or  even  a  hundred  viewers. 
It  can  use  its  website  to  make  recommendations,  a  feature  which 
has  reportedly  been  wildly  popular,  driving  users  to  good 
movies  that  didn't  make  it  to  theaters  in  Phoenix  or  Cincinnati. 
Titles  that  did  not  have  the  time  to  find  an  audience  can  build 
a  word  of  mouth  buzz  or  satisfy  the  interests  of  a  few  fanatics 
who  represent  Netflix's  core  business.  Instead  of  just  choosing 
the  stuff  in  the  biggest  display  case,  it  turns  out  customers  are 
willing  to  be  far  more  eclectic  and  experimental  than  retailers 
had  previously  assumed. 

"There  hasn't  been  a  film  culture  in  the  country  since  the 
60s,"  says  Ryan  Krivoshey,  director  of  feature  distribution  for 
The  Cinema  Guild,  an  indie  distributor.  "The  DVD  boon  has 
almost  created  a  new  film  culture.  People  are  following  directors 
through  Netflix,  watching  an  entire  career's  worth  of  work.  It's 
very  exciting." 

That  interest  can  even  drive  an  audience  to  theaters  to  see 
new  releases.  "People  who've  rented  something  from  Netflix 
because  of  a  recommendation  will  then  look  for  the  next  the- 
atrical release  from  a  director,"  says  Krivoshey. 

Many  credit  Netflix  with  doing  more  than  merely  stocking 
indies.  "They  position  independent  films  on  an  even  playing 
field,"  says  Kathleen  Mclnnis,  film  festival  specialist  at  Loyola 
Marymount  University,  and  director  of  programming  at  Palm 
Springs  Short  Film  Festival.  "They  don't  ghetto-ize  them." 


Recently,  Netflix  has  expanded  into  DVD  distribution,  strik- 
ing deals  to  package  more  than  90  independent  films.  Born  Into 
Brothels  won  the  Audience  Award  at  Sundance  in  2004  and  then 
went  on  to  beat  Fahrenheit  911  (2004)  for  Best  Documentary  at 
the  Oscars,  but  the  film  did  not  have  a  home  video  deal.  Netflix 
swooped  in  and  packaged  the  DVD  in  return  for  an  exclusive. 
The  film  will  eventually  be  available  everywhere,  but  for  the 
first  few  months,  Netflix  will  be  the  only  place  to  get  the  DVD. 

Sarandos  and  his  team  visit  all  the  major  festivals  every  year 
in  search  of  new  titles,  as  well  as  workshops  and  labs  like  this 
month's  IFP  Marketplace  in  New  York  City.  Netflix  also  has 
exclusive  agreements  with  PBS,  BBC,  and  the  Canadian  Film 
Board.  They'll  happily  release  films  that  never  hit  theaters,  cer- 
tain that  they'll  find  an  audience.  Netflix  and  its  ilk  may  even- 
tually remove  the  stigma  of  straight-to-video. 

"There's  this  notion  right  now  that  if  you  didn't  have  a  the- 
atrical release,  you  weren't  really  a  success,"  says  Mclnnis.  "And 
that's  got  to  change.  It's  just  as  valuable  for  the  majority  of 
indies  to  get  out  there  and  be  seen." 

Netflix  is  also  experimenting  with  soup-to-nuts  production. 
Sarandos  says  that  in  this  respect  Netflix  is  modeling  itself  after 
HBO,  which  began  its  original  programming  juggernaut  by 
acquiring  films  that  couldn't  get  theatrical  distribution  and 
eventually  by  producing  original  comedy  specials.  Last  year, 
Netflix  funded  The  Comedians  of  Comedy,  a  low-budget  docu- 
mentary about  the  alternative  comedy  circuit.  It  is  making  its 
way  around  the  festivals  now,  and  Sarandos  is  taking  a  wait-and- 
see  approach  to  the  future  of  Netflix-branded  films.  (HBO,  for 
the  record,  is  the  largest  producer  of  original,  independent 
films.) 

To  be  sure,  Netflix  isn't  the  only  game  in  town.  Bay  Area- 
based  GreenCine  is  marketing  itself  as  the  online  community 
for  independent  film  lovers.  "Netflix  is  very  good  at  helping 
people  find  what  they  want,"  says  Jonathan  Marlow, 
GreenCine's  director  of  content  acquisition.  "We're  good  at 
helping  people  find  things  they  didn't  know  existed." 

The  company's  approach  is  far  more  low-key.  GreenCine 
seems  to  be  counting  on  a  backlash  against  Netflix's  aggressive 


46  The  Independent  I  September  2005 


marketing  strategy.  Netflix,  according  to  Swasey,  is  currently  the 
largest  internet  advertiser.  By  contrast,  GreenCine's  site  reads 
almost  like  a  blog,  with  subtle  graphics  and  lots  of  articles  about 
up-and-coming  filmmakers. 

"We  want  to  push  films  that  we  like  and  indie  filmmakers," 
says  Craig  Phillips,  one  of  GreenCine's  two  editors.  "We  have  a 
real  content  and  editorial  background,  and  we  use  that  to  push 
things,  rather  than  marketing.  We  want  to  promote  films,  not 
ourselves." 

GreenCine  has  not  invested  in  multiple  distribution  centers, 
so  its  subscribers  must  wait  for  their  next  DVD  to  arrive  from 
San  Francisco.  But  they  believe  that  their  subscribers  will  pay 
high  premiums  and  put  up  with  longer  waits  in  order  to  be  part 
of  a  community  of  independent  film  lovers  who  will  offer 
informed  recommendations. 

Netflix  believes  its  ease  of  use  will  counteract  any  upstarts. 
"The  real  value  [to  subscribers]  is  having  a  useful  interface  and 
customer  reliability,"  says  Sarandos.  "The  way  you  differentiate 
yourself  in  the  space  is  to  be  good  at  it.  We  invented  it,  and  we 
perfected  it."  Defensive  swagger  aside,  Sarandos  has  a  point. 
GreenCine  can  bill  itself  as  a  home  for  indies,  but  it  will  be  hard 
for  any  website  to  offer  a  unique  inventory  unless  they  capture 
exclusives.  Barring  near  unlimited  warehouse  space,  it's  almost 
impossible  for  any  service  to  offer  a  demonstrably  different 
selection. 

It  remains  to  be  seen,  of  course,  whether  Netflix  is  the  future 
of  film  distribution  or  merely  a  crucial  bridge  to  something  new. 
People  may  tire  of  Netflix  as  they  have  of  over-lit,  understaffed 
rental  chains.  And  the  web  has  enabled  an  active  do-it-yourself 
movement.  An  Irish  organization  called  Death  to  Hollywood 
(deathtohollywood.com)  offers  free  downloadable  movies  and 
plenty  of  anti-Hollywood  propaganda  on  their  website,  while 


low-cost  DVD  duplication  services  like  CustomFlix  make  it 
possible  for  people  to  sell  their  own  films  from  their  own  web- 
sites. The  problem  of  promotion  has  not  yet  been  cracked. 
Though  Netflix  recommendations,  like  Amazon  ratings,  are 
incredibly  valuable  free  advertising. 

Then  there's  the  promise  of  video-on-demand  (VOD).  For 
years,  people  have  forecast  a  not-too-distant  future  where  peo- 
ple will  download  movies  directly  to  their  TV  sets.  That  would 
theoretically  enable  independent  filmmakers  to  make  their 
films  available  directly  to  consumers,  without  having  to  find 
distributors  or  even  put  up  the  cash  for  packaging.  But  again, 
promotion  is  the  biggest  hurdle  any  filmmaker  faces.  "The 
question  is,  how  am  I  going  to  make  a  movie  that  you've  never 
heard  of  relevant  to  you?  It's  a  marketing  challenge,"  says 
Peabody.  "How  do  you  connect  consumers  to  content  in  a  cost 
effective  way?" 

Sarandos  and  the  rest  of  the  Netflix  crew  are  betting  that 
independent  operators  will  never  find  a  satisfactory  way  around 
the  problem.  Filmmakers  will  still  need  a  middleman.  They're 
building  their  subscriber  base  now,  so  that  whatever  the  future 
holds  technologically,  they'll  be  the  gatekeepers  for  content. 

"Netflix  has  conditioned  people  to  be  willing  and  happy  to 
pay  a  subscription  to  access  for  video  content,"  says  Peabody. 
"DVDs  are  a  way  to  capture  subscribers  so  that,  when  VOD  is 
a  reality,  you've  got  their  credit  card  information,  and  you're 
already  communicating  with  them  by  email." 

In  other  words,  true  independence  isn't  a  reality  quite  yet.  It 
may  never  be.  But  online  rentals  have  opened  up  a  new  audi- 
ence for  filmmakers  and  ensured  that  indies  aren't  relegated  to 
increasing  obscurity.  "Just  focus  on  the  storytelling,"  say 
Sarandos.  "And  it'll  find  its  way  out  there."  ~k 


September  2005  I  The  Independent  47 


Cynthia  Lopez  is  the  master  marketer 
behind  P.O.V. 


BY  KATE  BERNSTEIN 

Cynthia  Lopez  is  not  a  publicist.  She  does  not  believe  in  cre- 
ating hype.  Instead,  Lopez  describes  herself  as  a  public  media 
advocate.  As  director  of  communications  and  marketing  at 
P.O.V.  American  Documentary,  the  PBS  series,  public  relations 
has  come  to  mean  something  wholly  different  from  the  usual 
marketing  campaigns  launched  by  film  and  television  properties. 
"I  have  friends  that  design  campaigns  for  studios,"  says 
Lopez.  "That's  not  what  I  want  to  do.  I  want  to  have  real  con- 
versations about  painful  things  that  happen  in  this  country  and 
find  solutions  as  to  how  those  things  should  never  happen  again. 
I  don't  even  like  calling  my  staff  people  publicists,  that's  not  what 
they  do.  We  do  not  just  publicize  shows,  we  think  about  the  con- 
cept of  the  documentary,  we  think  about  how  that  concept 
works  and  what  kind  of  conversation  we  want  to  have  about  it." 

For  every  documentary  that  shows  on  P.O.V.,  Cynthia  and  her 
team  develop  what  she  calls  a  "public  awareness  campaign."  Each 
film  is  looked  at  individually  to  identify  the  primary  audience, 
the  secondary  audience,  and  any  niche  audiences  that  the  film- 
maker hopes  to  affect  and  address.  After  that,  the  campaign  is 
tailored  specifically  to  attract  those  audiences.  This  serves  not 
merely  to  secure  P.O.V  viewers,  but  also  to  inform  them  of  the 
issues  raised  in  the  community  the  film  depicts.  And  one  of 


L-R:  PBS  president  Pat  Mitchell,  Eve  Ensler,  and  Cynthia  Lopez 
(courtesy  of  PBS) 

Lopez's  main  goals  is  to  lead  audiences  to  documentaries  that 
might  help  them  better  understand  issues  in  their  own  lives. 
P.O.V's  publicity  initiatives  then  very  often  extend  to  facilitating 
educational  workshops  and  discussions  in  the  communities  that 
each  film  addresses. 

"In  my  sixteen  years  in  media,  I've  seen  amazing  films  go 
unnoticed,"  Lopez  says.  "Amazing  films  that  get  distribution 
contracts  and  have  no  marketing  money  behind  it.  No  one 
knows  the  film  was  even  on  television.  So  for  us,  marketing  does 
play  a  pivotal  and  instrumental  role  in  not  only  seeing  the  film 


48  The  Independent  I  September  2005 


The  Two  Towns  of  Jasper  filmmakers  Marco  Williams  (left)  and  Whitney  Dow  on  "The  Oprah  Winfrey  Show" 


but  using  the  information  in  the  film." 

Of  course,  in  order  to  achieve  that  goal,  Lopez  does  incorpo- 
rate a  traditional  publicity  methodology  to  her  promotion.  The 
standard  press  kit  for  a  mainstream  marketing  campaign — press 
release,  fact  sheet,  composite  card,  and  slide — is  still  her  bread 
and  butter.  Her  office  sends  out  15,000  pieces  of  mail  each  year. 
Lopez  tries  to  ensure  that  every  P.O.V.  filmmaker  gets  the  same 
amount  of  television,  print,  and  radio  interviews  whether 
they're  established  or  not.  Yet,  her  department  at  P.O.V.  is  dis- 
criminating as  to  the  outlets  on  which  she  encourages  her  film- 
makers to  appear. 

"If  you  talk  to  some  publicists,  they'll  say  they  tried  to  get  a 
P.O.V.  filmmaker  and  [that  filmmaker]  wouldn't  do  it.  Usually 
because  the  context  in  which  they  wanted  to  have  the  conversa- 
tion was  not  something  acceptable  to  us,"  says  Lopez.  "But  90 
percent  of  time,  we'll  work  very  closely  with  very  mainstream 
outlets  to  have  the  right  conversation." 

Perhaps  one  of  the  best  examples  of  P.O.V.  and  Lopez's  mar- 
keting philosophy  is  their  campaign  for  Two  Towns  of  Jasper.  The 
2003  documentary  by  Marco  Williams  and  Whitney  Dow 
explores  race  relations  in  America  by  depicting  the  white  and 
black  communities  in  Jasper,  Texas  where,  in  1998,  a  local  black 
man  was  tied  to  the  back  of  a  pickup  and  dragged  to  his  death 
by  three  white  men. 

"When  I  first  took  the  project,  people  were  like,  'Cynthia  how 
are  you  going  to  promote  this?'  And  I  said  we're  not  going  to 
promote  this — this  is  somebody's  son  that  died,  dismembered  on 
a  road.  We're  not  going  to  promote  that.  We  are  promoting  a 
conversation  of  racism  in  America,"  Lopez  says.  "For  me,  it  was 


about  having  a  conversation  about  what  racism  means,  what 
race  relations  means,  and  how  to  bridge  those  gaps.  When  we 
have  black  kids  saying  horrible  things  about  the  white  commu- 
nity and  white  kids  saying  horrible  things  about  the  black  com- 
munity, there's  work  to  be  done.  The  whole  campaign  that  we 
built  [for  Two  Towns]  was  to  do  that  work." 

In  fact,  even  without  the  marketing  dollars  and  requisite 
celebrity  draw  that  often  back  major  productions,  Lopez  was 
able  to  "converse"  about  Two  Towns  of  Jasper  in  the  most  main- 
stream of  media  outlets,  including  "The  Oprah  Winfrey  Show" 
and  "Nightline  with  Ted  Kopple." 

"I  remember  when  Marco  and  Whitney  came  in,  I  asked 
them,  'If  you  had  a  marketing  dream  what  would  it  be?'  They 
gave  us  a  list  of  what  they  wanted.  I  said  give  us  six  months  to 
a  year,  we're  going  to  make  a  piece  of  this  dream  come  true," 
remembers  Lopez.  "They  laughed." 

After  nine  months  of  negotiating  contracts,  Lopez  and  the 
filmmakers  were  walking  onto  the  Harpo  lot  in  Chicago.  The 
full  hour  of  "Oprah"  as  well  as  her  half  hour  after  show  were 
both  dedicated  to  Two  Towns  of  Jasper.  The  filmmakers  and 
Oprah  talked  about  the  film,  the  horrific  events  it  explores,  and 
racism  in  general.  For  "Nightline,"  Lopez  partnered  with  the 
producers  to  create  a  segment  called  "America  in  Black  and 
White,"  in  an  effort  to  raise  public  awareness  about  the  issues 
important  to  the  filmmakers. 

"What  I  really  liked  about  working  with  Cynthia  was  that  it 
wasn't  P.O.V  imposing,  and  it  wasn't  them  simply  doing  what 
we  said — it  was  a  collaboration,"  says  Marco  Williams.  "As  an 
independent  filmmaker,  that's  what  you  really  want.  It's  like 


September  2005  I  The  Independent  49 


Cynthia  Lopez  and  actor  Ed  Begley,  Jr.  at  the  2005 
EPPSilon  Awards  for  Excellence  in  Entertainment 
Social  Public  Relations  i P.O. V,  American  Documentary) 


making  a  film — you  work  with  a  great  camera  person,  you  work 
with  a  great  editor.  You  want  someone  who's  very  experienced. 
Cynthia  was  fantastic.  She  never  deterred  from  her  sense  of 
responsibility.  Her  department  takes  the  time  to  understand 
what  your  film  is  about,  it's  not  just  brash  attention." 

While  every  filmmaker  might  not  make  it  onto  "Oprah," 
P.O.V.  filmmakers  do  tend  to  reach  the  audience  they  want  to 
address.  Carlos  Sandoval,  the  creator  of  Farm ingvi lie,  a  docu- 
mentary that  explores  the  immigration  debate  following  the 
attempted  murders  of  two  Mexican  day  laborers  in  Long  Island, 
had  similar  things  to  say  about  working  with  Lopez  and  P.O.V. 

"Cynthia  had  us  develop  a  dream  list  of  places  we  wanted  cov- 
erage, nothing  was  off  limits.  One  goal  that  was  really  important 
to  me  was  reaching  out  to  the  Latino  market,"  says  Sandoval. 
"Cynthia  arranged  to  get  us  on  Spanish-language  radio  stations 
across  the  country.  We  also  wanted  to  hit  communities  that  were 
experiencing  a  sudden  flux  of  Latino  immigrants  so  that 
Farmingville  could  be  an  object  lesson.  I  knew  Cynthia  had 
delivered  when  a  guy  at  a  car  wash  told  me  in  Spanish  he  recog- 
nized me  from  an  early  morning  news  show." 

In  fact,  for  Sandoval's  campaign,  Lopez  received  a  2004 
PRISM  Award  honoring  excellence  in  issue-oriented  public  rela- 
tions campaigns  within  the  entertainment  industry.  Indeed, 
throughout  her  work  at  P.O.V.,  Lopez  has  influenced  a  diverse 
set  of  communities — immigrant  field  workers,  Mormons, 
Haitians.  Most  have  been  brought  into  the  P.O.V.  viewing  uni- 
verse with  careful  outreach  of  the  highest  caliber,  often  resem- 
bling political  activism  more  than  film  publicity.  And  because 
P.O.V.  is  a  nonprofit,  and  therefore  does  not  have  the  advertising 
budgets  of  other  films  campaigns,  Cynthia  and  her  team  have 


been  happily  forced  to  think  outside  the  box  and  come  up  with 
more  creative  campaigns  and  grassroots  marketing. 

Sandoval  continues,  "[For  my  film],  she  had  to  be  Ginger 
Rogers  to  the  networks'  Fred  Astaire — doing  it  all  as  well  as 
them,  but  backwards  and  in  heels.  Given  the  budgetary  con- 
straints she  and  her  staff  had,  they  came  up  with  some  really  cre- 
ative solutions." 

"In  mainstream  outlets,  experimentation  is  very  limited 
because  they  want  to  ensure  the  final  quotient  is  something  they 
can  see  at  the  end,"  says  Lopez.  "You  have  huge  advertising  budg- 
ets and  you  saturate  the  top  ten  markets  where  the  film  is  open- 
ing theatrically.  You  buy  bus  ads,  subway  ads,  and  on-air  ads." 

Affording  none  of  that,  Lopez  and  her  department  hit  the 
phones — calling  community  centers  and  reaching  out  to  aca- 
demics, journalists,  and  influential  people  in  the  communities 
the  film  depicts.  Lopez  believes  that  even  while  mainstream  films 
can  spend  millions  on  memorable  ad  campaigns  to  bring  people 
to  theatres  or  to  a  seat  in  front  of  the  television,  reaching  out  to 
niche  audiences  RO.V-style  can  bring  the  filmmakers'  vision 
directly  to  their  preferred  viewers. 

Yet,  there  is  more  than  just  dollars  and  innovative  advertising 
tactics  that  sets  Lopez's  brand  of  public  relations  apart  from  tra- 
ditional marketing.  "When  I  first  started  working  at  P.O.V.  I  said 
I  wouldn't  lie.  I've  worked  in  places  where  they  lie,  they  skew 
demographics,  they  say  they've  gotten  different  markets,  and 
they  haven't.  I  won't  and  don't  do  that,"  Lopez  says.  It  helps  that 
the  integrity  and  quality  of  the  work  on  P.O.V.  makes  it  easy  for 
Lopez  to  stay  true  to  her  word. 

Although  the  emphasis  is  on  public  awareness  and  not  pub- 
licity, and  market  demographics  matter  much  less  than  niche 
community  outreach,  the  numbers  of  media  placements  (not  to 
mention  the  quality  of  the  placements)  Lopez  has  brought  to 
P.O.V.  during  her  five  years  as  communications  director  speak 
for  themselves.  When  she  first  arrived,  the  program  was  getting 
660  press  placements  a  year.  Now,  it  has  5400  placements  a 
year — a  roughly  700  percent  increase. 

It's  no  wonder  that  Lopez  was  appointed  vice  president  of 
P.O.V.  last  year.  The  same  attention  and  impressive  results  she 
garnered  for  P.O.V.  filmmakers,  she  is  working  to  attain  for 
P.O.V.  at  large. 

"When  I  came  to  RO.V,  I  was  like  'Oh  gosh,  the  amount  of 
effort  we  have  to  make  to  get  an  outlet  to  call  us.'  I  told  the  team 
that  it  was  going  to  take  years  to  build  the  types  of  relationships 
where  when  an  outlet  needs  the  best  documentary  on  a  topic, 
they  think  of  P.O.V,"  says  Lopez.  "We're  at  that  place  now. 
[And]  it  wasn't  because  the  content  wasn't  there  before,  but  one 
of  the  things  I  brought  to  P.O.V.  was  my  ability  to  systematize  in 
a  different  way.  I've  assisted  in  overall  strategic  planning  from  the 
beginning." 

Lopez  has  been  able  to  help  brand  P.O.V.  as  a  broadcaster  of 
cutting-edge  programming  and  has  helped  to  construct  a  new 
look  for  the  organization.  In  her  vice  presidential  role,  she  is 
working  with  a  brand  development  company  to  restructure  how 
RO.V.  is  perceived.  Lopez  says  that  one  of  the  main  problems  is 
that  sometimes  an  audience  will  see  a  P.O.V.  film  on  PBS  but  not 


50  The  Independent  I  December  2004 


Lopez  convinced  Ted  Koppel  (between  filmmakers  Marco  Williams  and  Whitney  Dow)  to  help  publicize  The  Two  Towns  of  Jasper 


know  it  is  a  P.O.V.  film.  Her  goal  is  to  make  sure  that  by  the  pro- 
gram's 20th  anniversary  in  two  years,  every  person  recognizes 
and  understands  what  a  P.O.V.  documentary  looks  like.  To  that 
end,  Lopez  will  venture  outside  of  PBS  to  create  collaborative 
partnerships  with  other  organizations  and  corporations.  She  has 
already  helped  facilitate  a  P.O.V.  deal  with  Netflix. 

"Cynthia  brings  strategic  knowledge  of  corporate  practices, 
independent  media  issues,  and  public  policy  that  is  invaluable  in 
an  organization  dedicated  to  promoting  the  use  of  nonfiction  in 
the  public  interest,"  says  P.O.V.  Executive  Director,  Cara  Mertes. 
"Her  savvy  approach  to  her  work  combines  the  best  of  the  non- 
profit and  for  profit  worlds.  The  awareness  of  P.O.V.  as  a  center 
for  high-quality  production  and  presentation,  as  well  as  being 
PBS's  premiere  series  for  independent  documentary,  has  reached 
an  entirely  new  level  under  her  guidance." 

Looking  at  the  trajectory  of  Lopez's  career,  it  is  easy  to  see 
exactly  how  she  came  to  be  the  well-honed  Ginger  Rogers  of 
public  television.  Early  on,  Lopez  balanced  her  nonprofit  media 
work  with  jobs  in  mainstream  media  outlets,  working  as  an  ad 
sales  executive  at  Harris  Publications,  a  company  that  publishes 
over  200  magazines.  There  she  learned  the  advertising  tech- 
niques that  she  would  later  transform  into  grassroots  guerilla 
marketing  strategies  for  future  film  projects. 

The  promotional  initiative  for  P.O.V's  current  season  con- 
cludes this  month  with  Tod  Lending's  Omar  &  Pete,  a  docu- 
mentary about  two  Baltimore  men  who  have  been  in  and  out  or 
prison  for  more  than  30  years.  The  film  follows  the  two  friends 
after  what  they  hope  will  be  their  final  release.  The  men,  howev- 
er, end  up  taking  very  different  paths.  Lopez  saw  Omar  &  Pete  as 
a  perfect  opportunity  to  discuss  issues  surrounding  rehabilitation 
in  America  and  was  able  to  build  on  the  marketing  efforts  made 
for  a  previous  P.O.V.  film,  What  I  Want  My  Words  To  Do  To  You 
(2003),  about  women  in  prison,  for  which  Lopez  enlisted  actress 


Glenn  Close  to  do  promo  work.  "1  like  when  we've  established 
some  work,  and  we  can  take  it  to  a  different  level  and  go  back 
and  pump  it  up  in  a  different  way,"  says  Lopez. 

While  some  of  this  season's  P.O.V.  films  built  on  the  strengths 
of  past  media  campaigns,  Lopez  also  developed  innovative 
techniques  to  raise  public  awareness  and  promote  the  broadcast 
of  topics  never  before  addressed  on  P.O.V  For  example,  through 
Mel  Stuart's  The  Hobart  Shakespearean*  (which  airs  September 
6),  about  a  teacher  in  Los  Angeles  who  introduces  Shakespeare 
to  immigrant  students,  Shakespeare  is  addressed  on  P.O.V.  for 
the  first  time.  To  raise  awareness  about  the  film,  Lopez  will 
target  junior  high  and  high  school  students  by  providing  an 
excerpt  of  the  curriculum  by  teacher  Rafe  Esquith  on  the  PBS 
website  for  teachers  to  view  and  perhaps  duplicate  in  their  own 
classrooms. 

"To  see  these  kids  perform  Shakespeare  and  relate  it  to  their 
lives,  and  see  if  we  can  develop  a  campaign  where  other  people 
could  use  that  as  an  example,  is  a  really  good  illustration  of 
taking  an  independent  film  and  pushing  it  a  little  bit,"  says 
Lopez. 

Who  would  have  imagined  that  Lopez  originally  set  her  sights 
on  a  career  in  medicine?  "When  I  think  about  why  I  decided  to 
do  media  versus  medical  school,  it  is  because  I  really  believe  that 
media  changes  the  way  people  look  at  the  world,"  she  says.  No 
doubt  her  media  philosophy  came  from  a  childhood  viewing  of 
her  favorite  cartoon,  "The  Jetsons."  Lopez  asked  her  mother:  "Is 
this  really  what  society  is  going  to  look  like  in  the  future?"  Her 
mother  told  her  that  the  answer  depended  upon  what  she  and 
her  classmates  were  able  to  accomplish  and  what  kind  of  change 
they  sought  to  affect. 

"And  my  hope,"  Lopez  beams,  "is  that  a  lot  of  the  work  I've 
done  influences  that  [change]  just  a  little  bit."   ■& 


December  2004  I  The  Independent  51 


Spike  Wuz  Robbed 

The  new  bio  is  a  minor  glimpse  into  a  major  filmmaker 


By  Linda  Chavers 

SPIKE  LEE:  That's  My 
Story  And  I'm  Sticking  To  It 
(As  told  to  Kaleem  Aftab), 
W.W.  Norton,  September 
2005 


I  was  1 1  years  old  when  I  saw  Spike 
Lee's  Malcolm  X  (1992).  My  mother 
was  pretty  strict  when  it  came  to 
movie  ratings,  and  Malcolm  X  was  rated 
PG-13.  But  she  took  me  anyway  and  held 
my  hand  tight  as  we  stood  in  the  ticket 
line.  I  knew  who  Malcolm  X  was — I  was 
an  advanced  reader  for  my  age  and  had 
started  his  autobiography  around  this 
time — although  I  was  rather  abruptly 
forced  to  stop  when  I  asked  my  father 
what  a  "rubber"  was.  I  had  not,  however, 
ever  seen  or  heard  of  Spike  Lee,  the  film's 
skinny,  bespectacled  director  who  also 
starred  as  X's  partner  Shorty  in  the  movie. 
But  I  walked  out  of  that  theater  feeling 
like  Spike  Lee  had  stuck  his  hand  through 
my  chest. 


At  the  time,  I  was  attending  an  elite, 
mostly-white,  girls  school,  and  dealing 
with  numerous  painful  identity  issues.  I 
remember  bursting  into  tears  during  the 
scene  when  Denzel  Washington,  as 
Malcolm  X,  formed  an  "army"  to  get  the 
proper  attention  paid  to  a  fallen  brother.  I 
needed  to  see  that  kind  of  unity  and  pride 
beyond  the  confines  of  my  own  proud 
home.  I  craved  it.  Anyone  who  could 
deliver  that  in  the  form  of  a  movie  (and 
one  that  my  mother  would  let  me  see) 
was,  in  my  mind,  a  sort  of  magical  figure. 

In  college  at  New  York  University — as 
I  grew  increasingly  fed  up  with  white 
people  who  felt  they  could  talk  to  me  any 
kind  of  way  because  they'd  seen  Talib 
Kweli  at  Irving  Plaza  or  bought  weed  in 


Harlem — Malcolm  X,  Do  the 
Right  Thing  (1998),  and 
Bamboozled  (2000)  allowed 
me  to  feel  seen  in  exactly  the  way  I  was- 
n't in  my  everyday  life.  It  is  this  ability  to 
make  black  Americans  feel  truly  seen  that 
makes  Spike  Lee  so  simultaneously  popu- 
lar and  unpopular  in  America.  From  the 
beginning,  his  films  depicted  black  life  in 
a  wholly  new  and  different  way — blacks 
felt  it,  and  the  "white  establishment"  Lee 
was  filming  (and  fighting  against)  saw  it. 
SPIKE  LEE:  That's  My  Story  And  I'm 
Sticking  To  It,  as  told  to  Kaleem  Aftab, 
out  this  month  from  W.W.  Norton,  is  a 
dense  collection  of  background  informa- 
tion on  Spike  Lee's  40  Acres  and  a  Mule 
film  company  and  the  people,  times, 
emotions,  and  motives  involved  with  its 
20-plus-year  history.  For  anyone  who  is 
alreadv  a  hardcore  40  Acres  fan,  this  book 


52  The  Independent  I  September  2005 


will  be  a  nice  addition  to  their  knowl- 
edge bank.  Otherwise,  while  enjoyable 
for  its  behind-the-scenes,  in-the-know 
tone,  the  book  is  most  valuable  for  its 
interviews  with  Lee's  colleagues,  friends, 
and  even  a  few  of  his  enemies. 

From  his  mentor  at  Morehouse 
College,  Dr.  Herb  Eichelberger,  to  his 
repertoire  actors  like  John  Turturro  and 
Giancarlo  Esposito,  readers  may  be  sur- 
prised by  the  bluntness  with  which  peo- 
ple talk  about  Lee.  Esposito  (who 
appeared  most  memorably  in  Do  the 
Right  Thing  as  Buggin'  Out:  "Sal,  how 
come  there's  no  brothers  up  on  the 
wall?")  in  particular  makes  fairly  sharp 
statements  throughout  the  book  on 
Spike's  attitude  toward  interracial  dat- 
ing. "Through  all  my  Spike  Lee 
movies,"  he  says,  "I  had  white  girl- 
friends, and  Spike  hated  that.  Mary- 
Anne  was  the  first;  she  would  come  to 
the  set  and  she  would  always  be  nice  to 
him.  But  Spike  would  avoid  her  like  the 
plague  because  he  was  at  that  stage 
where  he  hated  white  people."  Spike's 
response,  which  appears  in  the  book  as  a 
footnote,  is  why  one  has  to  love  the 
book  for  its  candor:  "Bullshit... and  if 
the  truth  be  told,  they  weren't  even  fine 
white  girls." 

Disappointingly,  of  the  people  Aftab 
did  interview,  he  neglected  to  include 
Lee's  father,  musician  and  composer  Bill 
Lee,  with  whom  Spike  has  had  a  com- 
plicated relationship  and  who  may  have 
provided  some  thoughtful  insight  into 
Spike's  oft-criticized  portrayal  of  women 
and  interracial  relationships.  (The  older 
Lee  remarried  a  white  woman  after  his 
wife,  Spike's  mother,  died.  Spike  wrote  a 
screenplay,  The  Messenger,  which  was 
never  made  into  a  film,  about  a  black 
father  who  remarries  a  white  woman 
after  his  black  wife  dies,  and  the  great 
resentment  it  causes  his  son).  There's 
very  little  comment  in  the  book  from 
Lee  himself  on  these  matters.  His  debut 
film,  She's  Gotta  Have  It  (1996),  which 
Lee  wrote  while  he  was  still  in  film 
school  at  NYU,  is  regularly  cited  as  the 
biggest  offender  when  it  comes  to  how 
his  female  characters  are  depicted  and 


treated.  And  while  That's  My  Story  does 
include  the  fact  that  Lee  and  a  female 
classmate  created  a  comprehensive  ques- 
tionnaire dealing  with  sex  and  sexuality 
to  serve  as  research  for  the  film — Are 
there  any  sexual  acts  you  perform  with 
one  man  and  not  another?  Do  you  think 
you  are  sexually  adept?  What  do  you 
think  about  women  and  masturba- 
tion?— there  is  no  explanation  of  its 
graphic  rape  scene,  in  which  the  main 
character  Nola  (Tracy  Camilla  Johns)  is 
sodomized  by  one  of  her  three  lovers. 

Interestingly,  while  doing  publicity 
for  his  2004  film  She  Hate  Me,  in  more 
than  one  interview  Lee  expressed 
remorse  over  that  scene.  In  an  August 
17,  2004  article  for  The  Advocate,  Lee 
says:  "The  biggest  regret  I  have  of  any  of 
my  films  was  that  rape  scene  in  She's 
Gotta  Have  It.  That  scene  makes  light  of 
rape  and  does  not  show  the  horrific  vio- 
lation that  it  is."  It's  a  shame  none  of 
that  regret  or  introspection  made  it  into 
That's  My  Story. 

There  is,  however,  some  poignant, 
inadvertent  analysis  on  the  topic  from 
actresses  Rosie  Perez  {Do  The  Right 
Thing)  and  Annabella  Sciorra  (Jungle 
Fever),  who  both  recall  crude  sexual  ini- 
tiations on  the  sets  of  Lee's  films.  Perez 
says,  "The  ice  cube  sequence  [in  Do  the 
Right  Thing]  was  very  disturbing  to 
me — very  disturbing... [it]  wasn't  what  I 
had  expected."  In  the  film,  Lee  as 
Mookie  cools  down  his  girlfriend,  Tina 
(Perez),  on  a  hot  day  by  rubbing  ice 
cubes  all  over  her  body — Perez's  bare 
breasts  appear  in  more  than  one  camera 
close-up.  She  continues:  "I  found  it 
much  more  exploitative  than  what  I  had 
read  ...I  just  think  that  [Spike]  was  irre- 
sponsible to  put  me  in  that  position.  He 
was  the  older  person,  the  captain  of  the 
ship,  and  I  really  truly  feel  that  as  soon 
as  he  saw  that  I  wasn't  comfortable — 
completely  shaken — he  should  have 
done  something  to  help  me." 

Sciorra  faced  a  similarly  isolating  sce- 
nario playing  Wesley  Snipes's  love  inter- 
est in  the  controversial  Jungle  Fever.  "I 
think  I  called  'cut'  because  Wesley  took 
off  my  underwear  and  I  didn't  have  any- 


thing on  underneath.  And  to  my  knowl- 
edge that  was  not  what  we  were  doing." 
Lee's  response  to  both  women  comes 
across  in  the  book  as  flippant  and  cold. 
What  we  get  from  Lee  on  this  is  merely: 
"I  need  to  work  on  the  depiction  of 
females  in  my  pictures." 

That's  My  Story  offers  page  after  page 
of  the  physical,  economic,  and  mental 
frustration  that  has  gone  into  the  mak- 
ing of  his  films,  but  almost  nothing  on 
the  struggles  Lee  experiences  with  the 
casting  and  shaping  of  women  in  his 
films  (or  lack  thereof). 

From  his  childhood  days  as  the  bossy 
big  brother  of  five  to  his  adult  days  as 
the  bossy  director  of  50,  Lee  continues 
to  be  a  successful  pioneer  and  an  origi- 
nal filmmaker.  What  comes  across  most 
vividly  in  the  book's  interviews  is  that  he 
created  something  that  had  previously 
been  missing:  a  diverse  family  of  black 
editors,  producers,  writers,  designers, 
and  interns  who  used  40  Acres  as  a 
springboard  to  success.  Despite  Perez's 
earlier  criticism,  her  final  words  on  Lee 
speak  both  to  why  he's  still  on  his  game 
and  why  his  flaws  are  often  ignored: 
"Outside  of  whether  you  feel  the  por- 
trayal of  women  is  positive  or  negative, 
there's  so  much  more  that  he's  saying 
outside  of  that  that  it's  unbelievable." 

A  small  but  remarkable  point  of  frus- 
tration is  Aftab's  tiresome  fondness  for 
footnotes — particularly  as  he  footnotes 
the  definition  of  "kill-fee"  but  not 
"dailies."  And  throughout  the  book,  one 
can't  help  feeling  that  Aftab  may  have 
been  better  off  telling  this  story  as  a  doc- 
umentary film.  Unlike  The 
Autobiography  oj  Malcolm  X,  which  was 
told  to  and  written  in  the  first  person  by 
Alex  Haley,  That's  My  Story  is  written  in 
the  third  person  and  with  so  much  tech- 
nical detail,  the  narrative  acquires  a  dull 
"and  then,  and  then"  feel. 

In  the  end,  it  is  Lee's  voice  that  read- 
ers most  want  to  hear  describe  his  frus- 
trations at  the  Cannes  Film  Festival — 
not  Aftab  giving  us  the  play-by-play 
with  Lee's  now  infamous  quip,  "We  wuz 
robbed,"  as  punchline.  ~k 


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COMPETITIONS 

AMERICAN  ACCOLADES  5TH  ANNUAL  TV  &  SHORTS 
COMPETITION:  A  competition  designed  to  provide 
outlet  for  emerging  talent  in  a  relatively  impenetra- 
ble industry.  Finalist  judges  include  agents,  man- 
agers &  other  industry  executives.  Cats:  1/2  Hour 
Pre-Existing  or  1/2  Hour  Pilot  for  Sit-Com,  1-Hour 
Pre-Existing,  1  -Hour  Pilot,  or  Movie  of  the  Week,  or 
Short  Screenplay,  treatment,  outline,  written  pitch, 
spec  show  bibles,  reality  show  idea/treatment, 
game  show  idea/treatment,  or  Short  film  (must 
submit  on  VHS).  Over  $3000  in  cash  prizes. 
Deadline:  October  8th,  2005.  Application  on  web- 
site: www.Amencan  Accolades.com  Contact: 
Accolades  TV  &  Shorts,  2118  Wilshire  Blvd.,  Ste. 
160B,  Santa  Monica,  CA  90403; 
info@AmencanAccolades.com. 

MOXIE  FILMS  NEW  CENTURY  WRITER  AWARDS 
SCREENPLAY  was  established  to  provide  a  valuable 
outlet  to  recognize  the  quality  screenplays,  and 
stage  plays  of  both  unpublished  writers  and 
emerging  writers  with  minor  or  few  creative  writ- 
ing credits.  We  provide  cash  awards  to  the  Top  3 
writers  in  each  of  our  creative  writing  contests 
since  monetary  awards  help  legitimize  and  validate 
a  writer's  good  hard  work.  Please  visit: 
www.moxie-films.com  [Deadline:  Sept. 30,  2005] 

CONFERENCES  WORKSHOPS 

NATIONAL  ALLIANCE  FOR  MEDIA  ARTS  AND  CULTURE 
[NAMAC]   2005    CONFERENCE    Taking     Liberties: 

54  The  Independent  I  September  2005 


Freedom,  Creativity  and  Risk  in  the  Media  Arts  will 
be  held  in  Philadelphia,  PA:  Sept  28  -  Oct  2,  host- 
ed by  Scribe  Video  Center.  Makers,  programmers, 
broadcasters,  activists,  administrators  and  funders 
will  assemble  for  an  intensive  and  interactive  con- 
ference about  the  future  of  independent  media. 
Registration  includes  screenings,  site  visits  and 
parties  too!   Go  to  www.takmgliberties2005.org. 

REEL  VISION  FILMMAKERS'  CONFERENCE  October 
21-23,  2005,  Radisson  Hotel,  City  Center  Tucson, 
Arizona.  Linda  Seger  is  just  one  of  the  world  class 
screenwriting  and  filmmaking  instructors  teaching 
attendees  how  to  express  their  unique  vision  on 
film.  Registration:  $100,  www.reelinspiration.org, 
520-325-9175. 

THE  SHOWBIZ  EXPO  will  be  a  focused  busmess-to- 
business  event  catering  to  the  working  practition- 
er in  television  and  film.  Conference  sessions 
cover  the  most  pressing  issues  in  content  cre- 
ation, production,  post-production  and  distribution. 
ShowBiz  Expo  features  the  latest  products,  tech- 
nologies and  services  for  professionals  in  filmmak- 
ing, television,  commercials,  special  effects,  con- 
tent distribution  and  new  media.  The  exhibits, 
events  and  advanced  educational  content  will 
focus  on  the  evolving  workflow  process  from  pro- 
duction to  post-production  to  the  digital  distribution 
of  entertainment  content.  The  event  will  tale  place 
at  the  Barker  Hangar  at  Santa  Monica  Air  Center. 
www.showbizexpo.com. 


RESOURCES  FUNDS 

ARTISTS'  FELLOWSHIPS  are  $7,000  cash  awards 
made  to  individual  originating  artists  living  ano 
working  in  the  state  of  New  York  for  use  in  career 
development.  Grants  are  awarded  in  1 6  artistic  dis- 
ciplines, with  applications  accepted  in  eight  cate- 
gories each  year.  The  next  deadline  for  Artists 
Fellowships  is  Monday,  October  3,  2005.  At  thai 
time  we  will  be  accepting  applications  in  the  fol- 
lowing categories:  Architecture/Environmental 
Structures,  Choreography,  Fiction,  Musk 
Composition,  Painting,  Photography,  Playwriting 
Screenwriting,  and  Video.  To  learn  more  abou; 
Artists'  Fellowships  visit  our  website  at 
www.nyfa.org/afp.  Applications  for  the  remaining 
categories-Computer  Arts,  Crafts,  Film,  Nonfictior 
Literature,  Performance  Art/  Multidisciplinar, 
Work,  Poetry,  Printmaking/Drawmg/Artists'  Books 
and  Sculpture-will  be  accepted  in  early  Octobei 
2006. 

MEDIA  ARTS  TECHNICAL  ASSISTANCE   FUND 

designed  to  help  non-profit  media  arts  programs  ir 
New  York  State  stabilize,  strengthen  or  restructure 
their  media  arts  organizational  capacity,  service: 
and  activities.  The  fund  will  provide  up  to  S2.00C 
per  project  to  organizations  which  receive  suppor 
from  NYSCA's  Electronic  Media  and  Film  program 
The  Media  Arts  Technical  Assistance  fund  car 
assist  with  the  hiring  of  consultants  or  other  activ- 
ities which  contribute  to  organizational,  manage 
ment  and  programming  issues  which  influence  the 
media    arts    activities.    Contact    Sherry    Mille 


Student  Photo  by 
Eva  Kolenko 


Hocking,  Program  Director  at  Experimental 
Television  Center  deadlines  for  application  are 
January  1,  2005;  April  1,  July  1,  and  October  1. 

NAPT  PRODUCER  OPPORTUNITY  FUND  encour 
ages  participation  in  professional  development 
activities  that  enhance  skills  in  areas  such  as  TV 
production,  marketing,  business  development 
or  involvement  in  Public  Broadcasting-spon- 
sored workshops.  Open  to  individuals  who 
have  a  track  record  of  producing  programs 
about  Native  American  subject  matter,  or  who 
have  been  involved  in  Public  Broadcasting. 
Applications  will  be  reviewed  quarterly 
(received  by):  October  15  for  activities  sched- 
uled after  December  1 .  For  additional  informa- 
tion email:  native@unl.edu. 

THE  FIRSTPIX  program  for  2005  seeks  to  foster 
the  best  and  brightest  new  talent  in  digital 
video,  film  and  animation,  and  to  help  promote 
that  talent  by  providing  supplemental  post-pro- 
duction funds  for  selected  projects.  The  criteria 
for  a  firstPix  project  are  as  follows:  Must  be  the 
first  or  second  feature  DV  or  film*  project  of 
the  applicant,  The  projected  budget  cannot 
exceed  $250,000.00,  Principal  photography 
must  have  completed  after  January  1,  2003, 
Production  must  be  completed  and  the  DV/film 
is  in  post-production,  the  DV/film  should  have  a 
positive  humanitarian  message.  Deadline: 
Sept.  1 5,  2005.  NextPix  will  offer  post  produc- 
tion funding  of  up  to  5K  as  a  grant  to  the  film- 
maker. The  grant  may  either  be  used  toward 
finishing  funds,  or  to  fund  marketing  and  pro- 
motion (such  as  a  festival  tour  or  acquisitions 
screening).  NextPix  will  also  publicize  the 
selected  project(s)  through  its  own  website 
and  assist  filmmakers  in  promoting  their  proj- 
ect. Please  visit  http://nextpix.com/v1_1/proj 
ects/firtpixinfo.htm  to  fill  out  an  application. 

THE  FUND  FOR  WOMEN  ARTISTS  is  a  non-profit 
organization  dedicated  to  helping  women  get 
the  resources  they  need  to  do  their  creative 
work.  We  focus  on  women  using  their  art  to 
address  social  issues,  especially  women  in  the- 
atre, film,  and  video,  and  we  have  two  primary 
goals:  To  Challenge  Stereotypes.  To  Increase 
Opportunities.  www.WomenArts.org. 

THE  GLOBAL  FILM  INITIATIVE  awards  up  to  eight 
(8)  grants  per  funding  cycle.  Each  grant  will  be 


in  the  amount  of  USD  10,000  with  a  pre-sale 
option  for  an  additional  sum.  Grants  are  award- 
ed to  assist  filmmakers  with  the  production 
and  post-production.  Please  visit  www.global 
film.org/gfi_guidelines.htm  for  details  regarding 
application  materials.  Deadlines  for  application 
must  be  postmarked  by  September  15th. 

THE  LEEWAY  FOUNDATION,  which  supports  indi- 
vidual women  artists,  arts  programs,  and  arts 
organizations  in  the  Greater  Philadelphia  region, 
has  announced  the  Art  and  Change  Grants  pro- 
vide immediate,  short-term  grants  of  up  to 
$2,500  to  women  artists  in  the  Philadelphia 
region  who  need  financial  assistance  to  take 
advantage  of  opportunities  for  art  and  change. 
The  artist's  opportunity  for  change  must  be 
supported  by  or  be  in  collaboration  with  a 
Change  Partner — a  person,  organization,  or 
business  that  is  providing  the  opportunity  or  is 
a  part  of  the  opportunity  in  some  way.  Eligible 
Change  Partners  include  mentors,  editors,  gal- 
leries, community  art  spaces,  theaters,  non- 
profit organizations,  film  studios,  and  clubs.  (Art 
and  Change  Grant  Deadlines:  April  1 1 ,  June  20, 
and  October  31,  2005.)  Visit  the  Leeway 
Foundation  website  for  grantmaking  guidelines 
and  application  forms. 

THE  QUEENS  COMMUNITY  ARTS  FUND  provides 
support  through  a  competitive  process  ensur- 
ing the  highest  quality  of  arts  activities  and 
services  in  our  borough.  Individual  artists  must 
live  in  Queens  and  organizations  must  be  non- 
profit Queens  based  and  have  been  in  exis- 
tence for  at  least  one  year.  Please  see  applica- 
tion guidelines  for  other  eligibility  and  restric- 
tions that  apply.  The  applications  and  guidelines 
will  be  available  to  download  as  of  July  1 ,  2005 
[found  at  www.queenscouncilarts.org.  Contact 
the  QCAF  director  at  718-647-3377  x  15  with 
any  questions  or  concerns.  Deadline  Oct.  1 . 

WOMEN  MAKE  MOVIES'  Fiscal  Sponsorship 
Program  enables  your  non-commercial  media 
project  to  apply  for  funding  which  requires  tax- 
exempt  501(c)(3)  status  under  WMM's  tax- 
exempt  status.  Fiscal  sponsorship  also  allows 
you  to  accept  tax-deductible  charitable  contri- 
butions from  individuals.  Please  visit 
www.wmm.com/assist/fiscalsponsorship.htm 
for  more  information;  Deadline:  September  15. 


telemarketer  or 
television? 

80%  of  our  graduates  are  working 
in  the  art  and  design  industry 

SCHOOL  OF 

MOTION  PICTURES 
&  TELEVISION 

Acting,  Directing, 
Cinematography,  Editing, 
Music  Videos,  Producing, 
Production  Design, 
Screenwriting 
&  Special  Effects 

1 .800.544.ARTS 
www.academyart.edu 

ACADEMY  of  ART 
UNIVERSITY 

FOUNDED  IN  SAN  FRANCISCO  1 929 
BY  ARTISTS  FOR  ARTISTS 


REGISTER  NOW  FOR  FALL- 
CLASSES  START  SEPTEMBER  1 

79  New  Montgomery  St., 
San  Francisco,  CA  941 05 


(BFA-IAD),  NAAB  -  Candidate  Status  (M-ARCH) 


September  2005  I  The  Independent    55 


MICROCINEMAS  SCREENINGS 

FILM  AND  VIDEO  825  -  Series  of  bi-monthly 
screenings  of  locally,  nationally  and  interna- 
tionally recognized  film  and  video  artists' 
work,  providing  a  forum  for  presenting  exper- 
imental film  and  video  in  Los  Angeles. 
Film/Video  825,  Gallery  825/LAAA,  825  N.  La 
Cienega  Blvd.,  Los  Angeles,  CA  90069,  T: 
(310)  652-8272,  Fax:  (310)  652-9251, 
gallery825@laaa.org  ,  www.laaa.org/calendar/ 
film_video.html. 

ROOFTOP  FILMS  summer  series  is  underway 
every  Friday  at  the  Automotive  High 
School:  50  Bedford  Ave  [at  Lorimer,  in 
Williamsburg  Brooklyn]  and  Saturdays 
[through  July  16th]  on  the  roof  of  the  Old 
American  Can  Factory  at  232  3rd  St 
[Gowanus/Park  Slope].  Special  Shows 
Monday  July  4  and  Thursday  August  4.  For 
information,  please  visit  www.rooftop- 
films.com  or  email  Dan  Nuxoll,  program- 
ming director,  at  submit@rooftopflims.com. 

SQEAKY  WHEEL'S  long-running  free  open 
screening  is  one  of  our  most  popular  pro- 
grams: second  Wednesday  of  Every  Month 


8pm!  Free!  Filmmakers,  video/sound/digital 
artists,  community  documentarians,  and  stu- 
dents of  all  ages  are  welcome  to  bring  short 
works  for  insightful  critique.  The  open 
screening  is  perfect  for  newly  created  works 
or  works  in  progress.  Bring  works  less  than 
15  minutes.  Call  ahead  to  screen  a  longer 
work.  We  created  some  new  mini-themes 
(you  don't  have  to  make  work  on  the  theme, 
but  if  it  inspires  you,  go  ahead)  to  get  more 
people  in  the  door!  Formats  accepted:  Super 
8,  16mm,  video  (mini-dv,  svhs,  vhs),  cas- 
settes, cds,  Mac  compatible  cd-rom.  Please 
visit  www.squeaky.org/opportunities. html# 
ongoing  for  more  information. 

BROADCAST  CABLECAST 

AXLEGREASE  PUBLIC  ACCESS  CABLE  SHOW 
Tuesdays  at  2:PM  on  Channel  20  Become 
part  of  current  media  making  history  and 
submit  your  media  work  to  be  shown  on  TV, 
on  our  legendary  public  access  cable  show. 
Commercial  free,  100%  media  art  TV. 
Provide  us  with  mini-dv,  vhs,  svhs,  or  8mm 
video  (ntsc)  tapes  with  a  running  time  of  28 
min.  or  less.  Your  work  may  also  be  dis- 
played in  our  storefront  window.  Your  entry 


will  become  a  part  of  our  Member  Viewing 
Library  unless  you  include  an  SASE. 
Axlegrease  is  open  to  local  and  international 
artists.  Send  tapes  Attention:  Axlegrease. 
Formats  accepted:  mini-dv,  s-vhs,  vhs  or  dvd. 
Please  visit  www.squeaky.org/opportuni 
ties.html#ongoing  for  more  information. 

THE  DOCUMENTARY  CHANNEL  is  a  new  digital 
cable  channel  dedicated  to  airing,  exclusively, 
the  works  of  the  independent  documentary 
filmmaker.  They  are  not  afraid  of  controversy. 
That  said,  they  prefer  the  edgier,  more  person- 
al films  that  tell  a  story  and  that  show  some- 
thing in  a  unique,  visual  manner.  Submissions 
accepted  on  a  rolling  basis.  Please  visit 
http://documentarychannel.com/index.htm  or 
email  programs@documentarychannel.com 

WEBCAST 

FILMFIGHTS.COM  democratic  filmfestival  that 
anyone  can  enter,  3  times  a  month.  We  film- 
fight  every  ten  days  (the  1 0th,  20th,  and  30th) 
and  submissions  are  due  1  day  before  the  fight- 
-given  a  title  or  genre,  the  submissions  are 
voted  on  through  the  website.  The  winner 
goes  into  the  archives,  and  their  video  sits  front 


6th  Annual 


scriptapalooza  tv 

television    writing    competition 


M?MU!U'M 


YOU  WATCH  TV 


WGAWEST 

REGISTRY 

mm 

wga.org 


accepting  pilots,  sitcoms  and  1  hour  dramas 

DEADLINE  IS  OCTOBER  15 

323.654.5809  office     www.scriptapalooza.com     info@scriptapalooza.com 


56  The  Independent  I  September  2005 


and  center  until  the  next  winner  is  crowned, 
along  with  a  little  blurb  about  whatever  they 
feel  like,  http://filmfights.com/submit.shtml. 

KNOWITALLVIDEO  created  an  online  video  com- 
munity aimed  at  world's  largest  user-generated 
video  collection.  With  an  exhaustive  list  of  cat- 
egories covering  every  conceivable  subject, 
any  wannabe  star  or  director  with  a  camera  can 
easily  upload  short-form  digital  videos  for  an 
unlimited  audience  of  Internet  and  wireless 
PDA  users  who  search  the  site  by  key  word  or 
category,  all  completely  free  of  charge-equal 
parts  talent  showcase  and  information 
resource.  For  more  information  please  visit 
www.knowitallvideo.com. 

WWW.VIDEOART.NET  is  looking  for  new  film- 
makers, video  artists,  producers,  etc.  to  post 
their  clips  into  a  searchable  database. 
Registration  is  free.  We're  also  interested  in 
learning  about  your  work,  new  links,  trends, 
equipment,  and  general  film  dialogue  in  the 
forums.  A  great  opportunity  to  showcase  your 
talents  and  discuss  your  work  in  the  forums. 


4  days. 

100  films. 

I  magical  place. 


F*ST|VAt 


February  23-26,  2006 


Submit  film  by:  October  15th 
Late  entry  deadline:  December  1st 

928.282.1177     •     888.399.FILM 

SEDONA.ARIZONA 


September  2005  I  The  Independent     57 


Digital /Analog 

Film,  Video  &  Web  Production 

AVID  AND  FINAL  CUT  PRO  SUITES 

POST-PRODUCTION  SPECIALISTS 

AFTER  EFFECTS /MOTION  GRAPHICS 

EXPERIENCED  IN  FEATURE  LENGTH 
DOCUMENTARIES  AND  NARRATIVES 


670  BROADWAY  SUITE  300,  NY,  NY  10012 

3  3  4-8283 

www.americanmontage.com 


NON  LINEAR /LINEAR 
OFF  LINE /ON  LINE 
BETA  SP,  DV  EDITING 
DV,  HI8,  SP,  INTERFORMAT 
CD-ROM  OUTPUT 


EXCELLENT  RATES 
EXPERIENCED  EDITORS 


SOHO/CHINATOWN  LOCATION 
MASTER  &  VISA  ACCEPTED 

(212)-219-9240 

EMAIL: 
DFROESE@COMPUSERVE.COM 


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FIRST    SUNDAYS    COMEDY    FILM    FESTIVAL 

Deadline:  ongoing.  A  monthly  festival  featur- 
ing the  best  in  comedy  and  short  film/digi/ani- 
mation  followed  by  an  after-screening  net- 
working event.  An  ongoing  festival  held  the 
first  Sunday  of  each  month  at  the  Pioneer 
Theater  in  New  York,  First  Sundays  is  the  pre- 
miere opportunity  to  showcase  work  and 
meet  talented  directors  and  other  indie 
dv/film  folk.  Cats:  short  (under  20  mm,),  com- 
edy, animation/dv/film.  Formats:  Mini-DV, 
DVD,  VHS.  Entry  Fee:  $20.  Contact:  (email) 
film@chicagocitylimits.com  or  (website) 
www.firstsundays.com. 

INDEPENDENT  LENS,  the  national  PBS  series 
showcases  independent  documentary  pro- 
gramming and  dramas.  They  are  currently 
seeking  submissions  of  completed  films  for 
consideration  for  broadcast,  www.pbs.org/ 
independentlens/submissions.html  Deadline: 
September  10. 

MACHINE  DREAMS  is  developing  a  series  of 
theatrical  shows  for  national  audiences  that 
will  involve  original  music,  movies,  movie 
shorts,  animations,  games,  graphics  and  art. 
We  are  conducting  a  global  search  for  the 
best  ORIGINAL  independent  material  in  the 
following  categories:  Social  Commentary  & 
Societal  Issues,  Humor  and  Satire,  Special 
Effects,  Interactive  "No  Death"  Gaming,  Great 
Media  in  any  form  (music,  music  video, 
movie,  movie  shorts,  animation,  games, 
graphics,  art)    We  plan  to  incorporate  your 


work  in  one  or  more  of  the  following  ways: 
1.  Include  it  in  a  juried  show  in  New  York 
City,  with  winners  receiving  recognition  and 
cash  prizes  and  airing  on  a  network  televi- 
sion show,  2.  Include  it  in  one  or  more  inter- 
active shows  in  New  York  City,  3.  Include  it 
in  distribution  across  movie  theatres,  DVD, 
web,  television,  cable,  satellite  or  radio 
broadcast.  Email  a  BRIEF  DESCRIPTION  to 
us  of  your  work:  kate@machinedreams.com 
DO  NOT  SEND  US  YOUR  WORK  YET.  For 
more  information  call  Kate  Lawson  at  612- 
371-4428x11. 

SHORT  CUTS  is  now  accepting  submissions 
for  their  monthly  screenings.  No  submission 
fee-Short  Cuts  is  dedicated  to  providing 
filmmakers  with  an  intimate  setting  to  both 
screen  their  work  and  network  with  others 
in  the  film  community.  Short  Cuts  encour- 
ages submissions  from  first-time  directors, 
students  and  professionals  living  any  where 
in  the  world.  All  genres  are  welcome.  No 
Deadline  -  Round  the  year  Submissions.  To 
submit,  please  visit  our  website  www.short 
cuts. in. 

THE  NEW  HAMPSHIRE  FILM  EXPO  (NHFX)  is 

currently  accepting  film  and  video  submis- 
sions of  all  lengths  and  genres  for  the  fifth 
annual  NHFX  which  will  be  held  October  14- 
16  in  scenic  Portsmouth,  NH.  Awards  will  be 
presented  in  several  categories  including 
Best  of  Fest.  NHFX  is  also  accepting  screen- 
play submissions  as  well.  Please  visit 
www.nhfx.com  for  additional  information. 

THE  PIONEER  TH EATER- NYC  s  showcase  of 
independent  cinema.  Always  on  the  look- 
out for  new  movies  to  screen.  To  submit 
for  a  public  screening,  check  out: 
www.twoboots.com/pioneer/submit.htm. 

TWISTEDSPINE.COM  has  announced  a  Call 
for  Entries  for  their  second  annual  Micro 
Film  Fest.  The  fest  is  looking  for  shorts,  fea- 
tures, and  screenplays.  All  projects  must 
have  been  produced  for  under  $10,000. 
This  year's  fest  will  include  workshops  by 
Microcinemascene's  own  Peter  John  Ross, 
Robert  Banks,  Bill  Johns,  Johnny  Wu,  and 
others.  The  film  festival  will  be  held 
September  23-25  in  Cleveland,  Ohio.  More 
information  can  be  found  at  www.twisted 
spine.com. 


58  The  Independent  I  September  2005 


Compact,  Versatile,  Portable. 

Hi-def.  Digital.  It  means  working  smaller  and  lighter.  With  an  even 
higher  premium  on  quality.  That's  why  Lowel,  the  world  leader  in 
location   lighting,   has  a   whole   range  of  easy-to-carry  digita 
friendly   kits.  Their  ease  of  use  and   versatility  are  the   perfect 
match  for  your  new  way  of  shooting. 

The  kits  feature  a  variety  of  compact,  light-weight  lights  and 
accessories,  many  with  our  Rifa  collapsible  soft-light  that  sets  up 
in  less  than  a  minute. 

Speed.  Reliability.  Value.  It  all  goes  together. 


800-334-3426   www.lowel.com 


R 


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DOMESTIC 

ABSOLUTE  TIME  FILM  FESTIVAL,  March,  CA 
Deadline:  Oct.  31,  Nov.  15  (final).  Festival  focus 
is  (but  not  limited  to)  films  written,  produced 
and/or  directed  by  under-represented  communi- 
ties. Mission  of  fest  is  to  present  films  that 
explore  cross-cultural  communication.  Films 
must  have  been  produced  in  the  past  12 
months.  Cats:  feature,  short,  animation,  doc. 
Awards:  $200  jury  award  for  best  film.  Formats: 
1/2",  DVD,  Mini-DV.  Preview  on  VHS/DVD. 
Entry  Fee:  S20;  $35  (final).  Contact:  San 
Francisco  Stage  &  Film;  (415)401-9768;  sfstage 
film@yahoo.com;  www.sfstagefilm.org. 

ANCHORAGE  INTL  FILM  FESTIVAL,  Dec  2-11,  AK 
Deadline:  Sept.  30.  The  goal  of  AFF  is  to  support 
&  promote  independent  film  &  video  artists  & 
establish  a  dynamic  showcase  of  the  world's  best 
independent  films.  Cats:  feature,  short,  doc,  ani- 
mation. Awards:  Cash  Awards.  Formats:  35mm, 
16mm,  Beta  SP,  DV,  S-VHS,  1/2".  Preview  on 
VHS  or  DVD.  Entry  Fee:  $25  (shorts);  $40  (fea- 
tures). Contact:  Anchorage  Cultural  Council;  (907) 
338-3690;  fax:  338-3857;  filmsak@alaska.net; 
www.anchoragefilmfestival.com. 

ANN  ARBOR  FILM  FESTIVAL,  Mar  21-26,  Ml 
Deadline:  Sept.  1,  Nov.  1,  Dec.  1  (final).  Fest  wel- 
comes all  cats  &  genres  of  independent  filmmak- 
ing. Founded:  1963.  Cats:  any  style  or  genre,  fea- 
ture, doc,  short,  animation,  experimental. 
Awards:  $18,000  in  cash  prizes  awarded. 
Formats:  16mm,  35mm,  DVD,  Beta  SP.  Preview 
on  VHS,  DVD  or  16mm.  Entry  Fee:  $30;  $35;  $40 


(final).  Contact:  Festival;  (734)  995-5356;  fax:  995- 
5396;  info@aafilmfest.org;  www.aafilmfest.org. 

ASBURY  SHORTS  OF  NEW  YORK,  November  8,  18, 
19,  NY.  Deadline:  Sept.  30.  Fest  combines 
screenings  of  award  winning  shorts,  under  20 
mm.  in  length,  w/  live  music  &  unannounced  live 
stage  surprises.  Organizers  also  invite  members 
of  the  advertising  &  television  broadcast  indus- 
tries seeking  new  commercial  directors. 
Founded:  1980.  Cats:  short,  any  style  or  genre. 
Formats:  35mm,  Beta  SP.  Preview  on  VHS  or 
DVD.  Entry  Fee:  $15.  Contact:  Sean  Titone,  New 
Films  Coordinator;  (718)  832-7848;  affl  ©earth 
link.net;  www.asburyshortsnyc.com. 

ATLANTA  JEWISH  FILM  FESTIVAL,  Jan  23-29,  GA 
Deadline:  Sept.  23.  Fest  is  a  7-day  cinematic 
examination  of  Jewish  life,  culture  &  history. 
Screenings  are  supplemented  by  guest  speakers, 
providing  a  dynamic  forum  for  audience  dialogue 
w/  filmmakers  &  expert  panelists.  Cats:  feature, 
short,  doc,  animation,  experimental.  Formats: 
16mm,  35mm,  Beta,  Beta  SP,  DigiBeta,  DVD. 
VHS  or  DVD.  Entry  Fee:  $35.  Contact:  Festival; 
(404)  949-0658;  info@atlantajewishfilm.org; 
atlantajewishfilm.org. 

BIG  SKY  DOC  FILM  FESTIVAL,  Feb  16-22,  MT 
Deadline:  Sept.  1,  Nov.  1  (final).  Held  at  the 
restored  Wilma  Theater  in  downtown  Missoula, 
Montana.  The  competitive  event  is  open  to  non- 
fiction  films  &  videos  of  all  styles,  genres,  & 
lengths.  Official  selections  w/  production  dates 
prior  to  January  1  of  previous  yr.  are  eligible  for 


entry  but  will  screen  out  of  competition.  Cats: 
doc.  Formats:  35mm,  16mm,  DVD,  Beta  SP, 
Mini-DV,  DVCam.  preview  on  VHS  or  DVD.  Entry 
Fee:  $20  (shorts);  $30  (features).  Contact:  Doug 
Hawes-Davis;  (406)  728-0753;  bigsky@high 
plainsfilms.org;  www.bigskyfilmfest.org. 

CHLOTRUDIS  SOCIETY  FOR  INDEPENDENT  FILM 
SHORT  FILM  FESTIVAL,  Oct.  3,  MA.  Deadline:  Aug. 
15;  Sept.  1  (final).  Compete  in  the  Short  Film  cat- 
egory of  Boston's  own  Chlotrudis  Awards,  given 
by  CSIF,  a  non-profit  organization  that  honors  & 
supports  independent  film.  Cats:  short,  any  style 
or  genre.  Awards:  Best  narrative  short;  Best  doc 
short.  Formats:  DVD,  35mm,  16mm,  Beta  SP, 
1/2".  preview  on  VHS  or  DVD.  Entry  Fee:  $15; 
$25  (final).  Contact:  CASFF;  (781)  526-5384;  fax: 
(617)  424-8617;  filmfestival@chlotrudis.org; 
www.chlotrudis.org. 

COATSVILLE  FILM  FESTIVAL,  Sept  16-18,  PA. 
Deadline:  Sept.  5.  Cats:  feature,  short,  doc,  ani- 
mation, TV.  Formats:  DVD,  1/2".  Preview  on  VHS 
or  DVD.  Entry  Fee:  $25.00;  $10.00  (Student). 
Contact:  c/o  LumenEssence;  (610)  384-2535; 
cthreea@brandywine.net;  www.Coatesvillefilm 
fest. info. 

DANCE  ON  CAMERA  FESTIVAL,  Jan  4-7;  13-14,  NY. 
Deadline:  Sept.  15.  This  touring  fest  is  the  oldest 
annual  int'l  dance  film/video  event  in  the  world. 
Co-sponsored  by  Film  Society  of  Lincoln  Center, 
fest  incl.  photo  exhibits,  workshops  &  panels. 
Founded:  1972.  Cats:  Experimental,  Feature, 
Short,  doc,  animation.  Formats:  35mm,  Beta  SP, 


60  The  Independent  I  September  2005 


Mini-DV,  DVD.  Preview  on  VHS.  Entry  Fee: 
$35.  Contact:  Dance  Films  Association,  Inc.; 
(212)727-0764;  fax:  727-0764;  dfa5@earth 
link.net;  www.dancefilmsassn.org. 

MIAMI  INT'L  FILM  FESTIVAL,  March  3-12,  FL 
Deadline:  Aug.  19;  Sept.  23.  Festival  is  dedi- 
cated to  bringing  the  best  of  world  cinema  to 
South  Florida.  The  fest  has  used  the  unique 
geographical  &  cultural  position  of  Miami  to 
make  the  fest  a  premiere  venue  for  the  exhi- 
bition of  Int'l  &  US  features  w/a  special  focus 
on  Iberoamencan  cinema.  Entries  should  not 
be  in  theatrical  release  in  US  or  Europe  & 
must  be  a  Florida  Premiere.  Cats:  Feature, 
Doc,  Short.  Awards:  Jury  Prizes,  Audience 
Awards.  Formats:  35mm,  HD  Video.  Preview 
on  VHS.  Entry  Fee:  $1 5,  $20  (shorts);  $30,  $40 
(features).  Contact:  c/o  Miami  Dade  College; 
(305)  237-3456;  mfo@miamifilmfestival.com; 
www.miamifilmfestival.com. 

M0BIUS  ADVERTISING  AWARDS,  February,  IL 
Deadline:  Oct.  1 .  Open  to  TV,  cinema,  m-f  light, 
cable  &  radio  commercials,  print  &  package 
design  produced,  screened  or  aired  nat'lly/ 
regionally/  locally  after  Oct  1  of  previous  year. 
Newly  produced  ads  as  well  as  previously  pro- 
duced, still  appearing  or  reintroduced  also  eli- 
gible. Cats:  automotive,  children's  products, 
clothing,  commercial  products,  food  &  bever- 
ages, home  care  &  maintenance  products, 
home  furnishings,  personal  products,  person- 
al articles  &  gift  items,  pet  products,  pharma- 
ceutical, recreation,  services,  misc. 
Technique/specialty  cats:  animation  (comput- 
er, non-computer),  copywriting,  direction,  art 
direction,  editing,  humor,  illustration,  music 
(adaptation,  original),  overall  production, 
photo,  product  demo,  set  design,  special 
effects,  talent.  Founded:  1971.  Cats:  TV, 
Advertising,  Animation.  Awards:  Mobius 
Statuette  &  Certificate.  Formats:  3/4",  1/2", 
Beta,  DVD,  CD-ROM.  Preview  on  VHS.  Entry 
Fee:  $195  (single);  $295-$530  (campaign). 
Contact:  Lee  W.  Gluckman,  Jr.;  (310)  540- 
0959;  fax:  316-8905;  mobiusinfo@mobiu 
sawards.com;  www.mobiusawards.com. 

NEW  YORK  CINEMA  MARKET,  Dec  9-11,  NY 
Deadline:  Sept.  30.  Film  market  "catering  to 
the  true  independent  filmmaker."  Twenty 
minute  segments  from  48  films  over  3  days 
together  w/  6  seminars  Cats:  feature,  doc, 
feature  length  works  only.  Formats:  35mm, 
16mm,  Beta  SP.  Preview  on  VHS  or  DVD. 


Entry  Fee:  $35;  Exhibition  Fee:  $165  if  accept- 
ed. Contact:  Festival;  (201)  251-9722; 
pchau64@cs.com;  www.newyorkcinemamar 
ket.com. 

NEW  YORK  CITY  HORROR  FILM  FESTIVAL,  Oct   1 

10,  NY.  Deadline:  Sept.  1,  Sept.  15  (final). 
Festival  focusing  solely  on  Horror  &  Sci-Fi. 
Fest's  philosophy  is  that  "the  independent 
horror  film  is  as  important  as  any  genre.  In 
fact,  many  great  Hollywood  directors  started 
out  making  low  budget  horror  films.  We  feel 
that  the  horror  film  may  just  be  more  impor- 
tant for  the  future  of  film  making  than  any 
other  genre  out  there!"  Works  in  progress 
accepted.  Cats:  feature,  short,  doc.  Formats: 
35mm,  16mm,  Beta  SP,  NTSC,  VHS,  Mini-DV 
Preview  on  VHS  or  DVD.  Entry  Fee:  Features: 
$40,  $50  (final);  Shorts:  $25,  $35  (final). 
Contact:  Entry  Coordinator  ;  (201)  666-6729; 
NYCHorrorFest@aol.com;  www.nychorror 
fest.com. 

NEW  YORK  FESTIVALS  INTERNATIONAL  FILM  & 
VIDEO  AWARDS,  Jan.  28,  NY.  Deadline:  Sept. 
16.  Annual  int'l  awards  recognizing  "The 
World's  Best  Work"  in  infoal,  educational  & 
industrial  film  productions  &  corporate  video. 
The  competition  has  attracted  entries  from 
producers,  directors,  distributors  &  corpora- 
tions in  43  countries  in  previous  years. 
Founded:  1957.  Cats:  doc,  short,  industrials, 
PR,  feature.  Formats:  3/4",  1/2".  Preview  on 
VHS.  Entry  Fee:  $175-$375.  Contact:  Festival; 
(212)  643-4800;  fax:  643-0170;  info@newyork 
festivals.com;  www.newyorkfestivals.com. 

NEW  YORK  INT'L  CHILDREN'S  FILM  FESTIVAL, 

March  3-19,  NY.  Deadline:  Oct.  15. 
Competitive  fest  screens  75  new  works, 
shorts  &  features,  screen  to  an  est.  audience 
of  20,000  children  ages  3-18,  parents,  film- 
makers &  media  execs.  All  films  must  have 
been  produced  after  Jan.  1  of  previous  year. 
Founded:  1997.  Cats:  feature,  doc,  short,  ani- 
mation, experimental,  music  video,  student, 
youth  media,  family,  children.  Formats: 
35mm,  Beta  SP,  DVD.  Preview  on  VHS  or 
DVD.  Entry  Fee:  $75  (feature,  45  mm.  or 
longer);  $50  (short,  under  45  mm.);  $25  (stu- 
dent). Contact:  Emily  Shapiro;  (212)  349- 
0330;  fax:  966-5923;  info@gkids.com; 
www.gkids.com. 

NIHILIST  INT'L  FILM  FESTIVAL,    Dec    3,    CA 

Deadline:  Sept.  15.  Fest  seeks  works  "that 


kansas  city 
filmmakers 

jubilee 

The  Kansas  City  Filmmakers 
Jubilee  Film  Festival  seeks 
US  and  International  short 
films  (under  30  minutes)  for 
its  10th  annual  celebration 
of  independent  filmmaking, 
April  7 -13,  2006. 

Entry  deadlines  and  fees: 
•October  1,2005, 
$25  USD/entry 

•  November  1,2005, 
$35  USD/entry 

•  December  1,2005, 
$45  USD/entry 

Discounted  fees  for  on-line 
entry  at  www.kcjubilee.org 
or  www.withoutabox.com. 
Submisions  must  by  NTSC. 


September  2005  I  The  Independent    61 


SPLASH 

STUDIOS 

POST    PRODUCTION    FOR    PICTURE    4    SOUND 


PICTURE   EDITING 


FINAL 
CUT 


BEAUTIFUL 

NEW   EDIT 

SUITES 


PRO 


AVID 


FULL  SERVICE  AUDIO 


VISIT  OUR  WEBSITE  OR  CALL  US 

WWW.SPLASH-STUDIOS.COM 
(212)  271-8747 

49  WEST  23rd  STREET,  6th  FLOOR 
NEW  YORK,  NEW  YORK  10010 


AIVF  presents:  fT" 

THE  PRODUCERS  SERIES 

mm 


with  Innes  Smolansky 

The  popular  monthly  series  returns  this  month 
with  the  first  of  11  sessions. 

September  8,  Thursday: 

CREATING  A  LEGAL  ENTITY 
COMING  on  October  6: 

ACQUIRING  RIGHTS 

6:30  -  8:30pm  at  the  AIVF  office, 
304  Hudson  St.,  6th  floor,  NYC. 
$25-  AIVF  Members 
$40-  General  Public 

Advanced  purchase  is  recommended. 
Register  on-line  at: 

A  I  V  p        www.aivf.org/store 

or  call  212/807-1400x30 


Feb. 16, 17,&18,2006-Starkville,MS 


Our  9th  annual  "Mag"  welcomes 
all  genres,  all  lengths,  in  competition 
for  awards.  The  "Mag"  was  founded 
by  Ron  Tibbett  to  celebrate  his  vision 
of  Independent  film  in  Mississippi.  It 
has  been  called  the  most  filmmaker 
friendly  festival  by  many  of  our  past 
contributers.  Entry  fees  are  $25  feature, 
$15  shorts  and  $10  student  film.  We 
are  proud  partners  with  Rhode  Island 
International  Film  Festival,  Tupelo 
Film  Festival,  Crossroads  Film  Festival 
and  Indie  Memphis. 


i> 


■s/s/ 


Congrats  to  all  2005  Mag  winners  including  Aruna  Naimji's  "One  Balloon", 
E.S.  Wochensky's  "Shoot  the  Moon",  Joe  Scott's  "Ocean  Front  Property" 
and  Joel  Fendelman's  "Tuesday". 

We  look  forward  to  seeing  you  down  in  the  deep  South. 


Entry  Forms:  Download  at  www.magfilmfest.com 
or  write  to:  Festival  Director 

2269  Waverly  Drive 

West  Point,  MS  39773 


Phone:  (662)  494-5836 
Fax: (662)  494-9900 


has  appalled  &  offended  other  film  tests".  Formats: 
Mini-DV,  16mm.  Preview  on  VHS  or  DVD.  Contact: 
Festival;  Nihilist01@aol.com;  www.nihilists.net 
/film. html. 

ORLANDO  INT'L  FILM  FESTIVAL,  Nov  4-6,  FL 
Deadline:  Oct.  8.  This  fest  showcases  the  most 
exciting,  creative,  &  cutting-edge  features,  shorts, 
animations,  commercials  &  videos  from  around  the 
world.  Cats:  feature,  short,  animation,  music  video, 
commercial,  interactive  media,  doc,  experimental, 
student,  any  style  or  genre.  Preview  on  VHS.  Entry 
Fee:  Features:  $50;  Shorts  (Under  40  mm.):  $35; 
Student  fee:  $25.  Contact:  OIFF;  (407)  894-7842; 
info@orlandofilmfestival.com;  www.orlandofilmfes 
tival.com. 

PALM  SPRINGS  INT'L  FILM  FESTIVAL,  Jan  5-16,  CA. 
Deadline:  Sept.  23;  Oct.  14  (final).  This  Festival  is 
one  of  the  largest  film  fests  in  the  country,  screen- 
ing over  200  films  from  more  than  60  countries  to 
an  audience  of  over  100,000  each  January,  w/  a 
Black  Tie  Gala  centrepiece  event  that  honours 
the  most  celebrated  talents  in  classic  &  contempo- 
rary cinema.  Founded:  1990.  Cats:  feature,  doc. 
Formats:  35mm,  16mm,  Beta  SP,  DigiBeta,  DVcam, 
HDcam.  Preview  on  VHS  or  DVD.  Entry  Fee:  $50; 
$75  (final).  Contact:  Darryl  Macdonald;  (760)  322- 
2930;  fax:  322-4087;  programming@psfilmfest.org; 
www.psfilm  fest.org. 

SAN  FRANCISCO  INT'L  ASIAN  AMERICAN  FILM 
FESTIVAL,  March  16-26,  CA.  Deadline:  Sept.  9; 
Oct.  7  (final).  Fest  is  the  largest  &  most  promi- 
nent showcase  for  works  from  Asian  America  & 
Asia  w/ 130  works  shown.  Fest  is  a  "lively  venue 
for  filmmakers,  industry  &  Asian  communities" 
worldwide.  Extensive  local  coverage  by  media, 
industry  press.  Also  special  events,  panels,  instal- 
lations, galas.  Fest  sponsored  by  Nat'l  Asian 
American  Telecommunic-ations  Assoc.  Founded: 
1982.  Cats:  Feature,  Experimental,  Short, 
Animation,  Doc,  Mixed  genre,  music  video,  youth 
media,  family,  installation.  Formats:  Beta  SP, 
35mm,  16mm.  Preview  on  VHS  or  DVD.  Entry 
Fee:  $25;  $35  (final).  Contact:  Chi-hui  Yang, 
Exhibition  Dir.;  (415)  863-0814; 

fax:  (415)  863-7428;  festival@naatanet.org; 
www.naatanet.org/festival. 

SLAMDANCE  FILM  FESTIVAL  January  19-27,  UT. 
Deadline:  shorts:  Aug.  29;  Oct.  11  (final);  features: 
Aug.  29;  Oct.  17  (final).  Started  by  3  filmmakers  in 
1995,  test's  primary  objective  is  to  present  new 
indie  films  by  new  filmmakers.  Fest  runs  concur- 
rent w/  Sundance  Film  Festival  &  takes  place  in  the 


62  The  Independent  I  September  2005 


heart  of  Park  City,  Utah.  Films  showcased  attract 
industry  interest  &  several  have  received  distrib. 
&  agency  rep.  Founded:  1995.  Cats:  Short,  Doc, 
Feature,  Animation,  Experimental,  Any  style  or 
genre.  Formats:  35mm,  16mm,  3/4",  1/2",  Beta 
SP,  DVD,  Web.  Preview  on  VHS.  Entry  Fee:  $25- 
$60.  Contact:  Slamdance;  (323)  466-1786; 
fax:  (323)  466-1784;  mail@slamdance.com; 
www.slam  dance.com. 

SPOKANE  GLTB  FILM  FESTIVAL,  Nov  4-5,  WA. 
Deadline:  Sept.  10.  This  fest  aims  to  revel  in  the 
cinema  that  paints  the  GLTB  community  in  an 
authentic  light.  Cats:  feature,  doc,  short,  anima- 
tion, experimental.  Awards:  Audience  Award. 
Preview  on  VHS  or  DVD.  Entry  Fee:  None. 
Contact:  Spokane  Film  Festival;  (509)  216-0366; 
spokanefilmfest@hotmail.com;  www.spokane 
filmfest.org. 

SUNDANCE  FILM  FESTIVAL  Jan  20-30,  UT 
Deadline:  Aug.  19  (features/shorts);  Sept.  2 
(Final:  shorts);  Sept.  16  (Final:  features).  Founded 
in  1985  to  "recognize  independent  filmmaking  in 
all  of  its  diversity,"  Sundance  is  the  premiere 
U.S.  competitive  showcase  for  new  indie  films. 
Showcase  for  domestic  &  mt'l  films,  incl.  com- 
petition of  new  American  ind.  feature  films,  non- 
competitive program  of  both  new  American  ind. 
&  foreign  feature  films  &  shorts.  Dramatic  &  doc 
entries  for  the  Independent  Feature  Film 
Competition  must  have  50%  U.S.  financing  &  be 
completed  no  earlier  than  Oct.  of  previous  year. 
For  competition, entries  must  be  world  pre- 
mieres. Foreign  feature  &  documentary 
filmsdess  than  50%  U.S.  financed)  are  eligible 
for  the  World  Cinema  Competition.  Submitted 
films  must  be  subtitled  in  English  &  a  U.S.  pre- 
miere. About  1 35  feature-length  &  90  short  films 
are  selected  for  each  fest  &  large  audience  of 
over  36,000  incl.  major  distributors,  program- 
mers, journalists,  critics  &  agents.  Int'l  press  cov- 
erage extensive.  Founded:  1985.  Cats:  Feature, 
Short,  Doc.  Formats:  35mm,  16mm,  DV,  Video. 
Preview  on  VHS.  Entry  Fee:  $25/$35  (shorts); 
$35/$50  (features).  Contact:  Geoffrey 
Gilmore/John  Cooper;  (310)  360-1981;  fax:  360- 
1969;  program  ming@sundance.org;  www.sun 
dance.org. 

WILD  &  SCENIC  ENVIRONMENTAL  FILM  FESTIVAL, 

Jan.  1 3-1 5,  CA.  Deadline:  Oct.  1 4.  Taking  place  in 
the  Sierra  mountains,  fest  promises  award-win- 
ning environmental  &  adventure  films,  speakers, 
activists,  celebrities,  &  parties.  Founded:  2002. 
Cats:  feature,  doc,  short,  animation,  experimen- 


tal, any  style  or  genre.  Formats:  DVD,  Beta  SP. 
Preview  on  VHS,  DVD.  Entry  Fee:  $35.  Contact: 
Kathy  Dotson;  (530)  265-5961  x202;  fax:  265- 
6232;  kathy@syrcl.org;  www.wildandscenicfilm 
festival.org. 

WINGSPAN  FILM  FESTIVAL,  March  3-5,  AZ 
Deadline:  Sept.  15;  Oct.  15  (final).  Formerly  the 
Tucson  Lesbian,  Gay,  Bisexual,  Transgender 
Film  Festival,  fest  presents  films  that  focus  on 
the  diversity  of  experience  of  gay,  lesbian,  bisex- 
ual &  transgender  people  &  that  present  new 
perspectives  on  issues  concerning  the  LGBT 
community.  Cats:  feature,  doc,  animation, 
experimental,  short.  Formats:  35mm,  Beta, 
Mini-DV,  DVD.  Preview  on  VHS  or  DVD.  Entry 
Fee:  $10;  $15  (final).  Contact:  Elizabeth  Burden; 
(520)  624-1779;  filmfest@wingspan.org; 
www.wingspan.org/filmfest. 

WOMEN  IN  THE  DIRECTORS  CHAIR  INT'L  FILM  & 
VIDEO  FESTIVAL,  March  12-21,  IL.  Deadline:  Sept. 
1,  Oct.  1  (final).  Annual  fest  is  the  largest  & 
longest  running  women's  film/video  fest  in  U.S. 
Previous  fests  have  included  over  120  outstand- 
ing works  from  women  directors  around  the 
world,  int'l  guest  artists,  diverse  programming 
from  an  inter-generational  queer  women's  video 
workshop  to  a  hip-hop  extravaganza.  Some 
works  may  be  included  in  year-long  nat'l  tour. 
Participants  in  tour  receive  stipend  based  on 
number  of  screenings.  Founded:  1979.  Cats:  any 
style  or  genre,  installation,  children,  family,  TV, 
youth  media,  student,  music  video,  experimen- 
tal, animation,  feature,  doc,  short.  Formats:  3/4", 
16mm,  35mm,  Beta,  1/2",  Beta  SP,  U-matic. 
Preview  on  VHS.  Entry  Fee:  $20  (early,  WIDC 
members);  $30  (final).  Contact:  Festival;  (773) 
907-0610;  fax:  (773)  907-0381;  widc@widc.org; 
www.widc.org. 

WOMEN  OF  COLOR  FILM  FESTIVAL,  March  3-6,  CA 
Deadline:  Oct.  1;  Nov.  1  (final).  Fest  aims  to  pro- 
vide a  progressive  showcase  of  films  created  by 
an  underrepresented  sector  of  the  film  industry. 
First  consideration  is  given  to  those  films  or 
videos  directed  by  minority  women.  Second  pri- 
ority for  films/videos  w/  women  of  color  in  key 
creative  positions  other  than  director,  e.g.  pro- 
ducer, screenwriter,  etc.  Cats:  feature,  doc, 
short.  Formats:  35mm,  16mm,  Beta,  Mini-DV, 
DV.  Preview  on  VHS.  Entry  Fee:  None;  $10 
(final).  Contact:  c/o  Pacific  Film  Archives; 
(510)  642-1412;  wocfilmproject@berkeley.edu; 
www.bampfa.berkeley.edu/pfa_programs/ 
women_of_color/. 


INTERNATIONAL 

ALTERNATIVE:  INT'L  SHORT  FILM  FESTIVAL,  Nov  2- 

6,  Romania.  Deadline;  Sept.  10.  This  fest  aims  to 
revel  in  the  art  of  the  short  film,  &  promote  its 
existence  through  this  four  day  fest.  Works  must 
have  been  completed  by  Jan.  of  previous  year. 
Cats:  short  (not  exceeding  30  mins),  experimen- 
tal, animation,  TV  (reporting,  publicty),  fiction, 
nonfiction.  Formats:  35mm,  16mm,  Beta  SP,  S- 
VHS,  DVD,  DV,  (only  in  PAL  formats).  Preview  on 
VHS  or  DVD.  Entry  Fee:  None.  Contact: 
U.D.T.M.-MADISZ;  01 1  40  265  267  547;  fax:  268 
573;  festival@rdslink.ro  ;  www.madisz.ro. 

ASIAN  FILM  FESTIVAL,  Nov  8-13,  France 
Deadline:  Sept.  26.  The  New  Asian  Cinema 
selection  is  dedicated  to  emerging  filmmakers 
from  whole  Asia.  Cats:  Must  be  "Asian",  anima- 
tion, experimental,  short,  feature,  any  style  or 
genre.  Formats:  35mm,  16mm,  Beta  SP,  VHS, 
DV.  Preview  on  VHS  (PAL,  Secam,  NTSC). 
Entry  Fee:  None.  Contact:  Festival;  011-33(0)4- 
72-91-43-73;  fax:  4-72-35-90-11;  asiexpo® 
asiex  po.com;  www.asiexpo.com. 

AUTRANS  INT'L  MOUNTAIN  &  ADVENTURE  FILM 
FESTIVAL,  Dec.  1-5,  France.  Deadline:  Sept.  30. 
Competitive  fest,  open  to  professional  &  non-pro 
filmmakers,  looks  for  films  that  "contribute  posi- 
tively to  knowledge  on  the  one  hand  of  the  snow 
&  ice  world  &  the  other  to  developing  &  exalting 
human  resources  in  adventure  &  evasion." 
Entries  may  incl.  snow  &  ice  films,  sporting  & 
sports  teaching  films,  social  life  &  ethnology 
films,  etc.  Entries  should  have  been  completed 
in  previous  4  yrs.  Founded:  1 985.  Cats:  any  work 
concerning  "mountain  &  adventure".  Formats: 
35mm,  16mm,  3/4",  Beta  SP,  DigiBeta,  1/2",  all 
non  NTSC  video.  VHS.  Entry  Fee:  None.  Contact: 
Secretariat  General  du  Festival  Int'l  du  Film 
d'Autrans  ;  (33)  47  695  3070;  fax:  (33)  04  7695 
7093;  info@festival-autrans.com;  www.festival 
autrans.com. 

BILBAO  INT'L  FESTIVAL  OF  DOC  &  SHORT  FILMS, 

Nov.  29-Dec.  4,  Spam.  Deadline:  Sept.  1.  Cats: 
short  (no  longer  than  45  mm.),  doc,  animation, 
experimental.  Formats:  35mm,  16mm,  Beta  SP, 
DV.  Preview  on  VHS.  Entry  Fee:  None.  Contact 
Colon  de  Larreategui;  011  (34)94-424-86-98 
fax:  (34)  94-424-56-24;  info@zinebi.com 
www.zmebi.com. 

BRUSSELS  INT'L  FESTIVAL  OF  INDEPENDENT  FILM  & 
VIDEO,  Nov.   1-6,  Belgium.  Deadline:  Sept.   10. 


September  2005  I  The  Independent    63 


Festival  is  a  "global  meeting  of  audiovisual  cre- 
,t,on  ip  the  face  of  the  dominant  cinema  but  not 
against  it."  Includes  a  special  category  for  works 
by  &  about  deaf  people  that  focus  on  the  topic 
"the  future  of  the  deaf  in  our  society."  Cats: 
feature,  doc,  animation,  experimental,  any  style 
or  genre,  short.  Formats:  35mm,  Beta  SP,  Mini- 
DV.  VHS.  Contact:  Centre  Multimedia;  011  32  2 
649  3340;  fax:  same;  info@centre  multimedia.org; 
www.centremultimedia.org. 

GIJON  INTL  FILM  FESTIVAL  FOR  YOUNG  PEOPLE, 

Nov.  24-  Dec.  2,  Spam.  Deadline:  Sept.  23. 
Member  of  FIAPF  &  European  Coordination  of 
Film  Festivals. Festival  aims  to  present  the  newest 
tendencies  of  young  cinema  worldwide.  Films 
shown  are  daring,  innovative  &  young  in  every 
sense.  Official  Section  is  competitive  for  long  & 
short  films  produced  after  Jan.  1  st  of  preceding  yr. 
&  has  non-comp  element  too;  Information  Section 
incls.  cycles,  retros  &  tributes.  Also  special 
screenings  &  other  film-related  events.  Founded: 
1962.  Cats:  Feature,  Short,  Children.  Formats: 
35mm,  16mm.  Preview  on  VHS  or  DVD.  Entry 
Fee:  None.  Contact:  Jose  Luis  Cienfuegos, 
Festival  Director;  01 1  34  98  518  2940;  fax:  34  98 
518  2944;  festivalgijon@telecable.es;  www.gijon 
filmfestival.com. 


GOLDENEYE  FILM  FESTIVAL,  Dec  7-12, 
Jamaica.  Deadline:  Oct.  1.  Fest  takes  place 
in  Oracabessa  Bay,  Jamaica  at  the  former 
home  of  Ian  Fleming.  All  films  are  screened 
on  DVD  format  in  the  villa  &  at  outdoor 
screenings  on  the  beach.  Cats:  feature,  doc, 
short,  works  in  progress.  Formats:  DVD. 
preview  on  DVD.  Entry  Fee:  $35.  Contact: 
David  Koh;  (212)  320-3678;  fax:  (212) 
266-6247;  david.koh@palmpictures.com; 
www.goldeneyefilmfestival.com. 

HOF  INTL  FILM  FESTIVAL,  October  26-30, 
Germany.  Deadline:  September  10.  Few 
long  weekend  film  fests  command  the 
prestige  &  faithful  audience  support  that 
Hof  has.  This  is  a  linchpin  in  the  trio  of 
German  fests  (w/  Berlin  &  Munich),  sked- 
ded  conveniently  every  four  month  to  bring 
the  buffs,  pros  &  insiders  together  for  regu- 
lar parleys  on  the  state  of  the  German  film 
industry.  Cats:  feature,  doc,  short,  any  style 
or  genre.  Formats:  35mm,  DigiBeta. 
Preview  on  VHS  (PAL  or  NTSC)  or  DVD. 
Entry  Fee:  None.  Contact:  Festival;  011  49- 
89-129  74  22  ;  fax:  011  49-89  -123  68 
68;  info@hoferfilmtage.de;  www.hoferfilm 
tage.de. 


MILAN  INTL  FILM  FESTIVAL,  March  10-20, 
Italy.  Deadline:  September  30,  January  31 
(final).  MIFF  was  founded  to  encourage  & 
support  the  work  of  independent  &  experi- 
mental filmmakers  &  provide  a  world-class 
int'l  platform  to  showcase  their  films. 
Founded:  2000.  Cats:  feature,  short. 
Formats:  35mm,  16mm,  Video.  Preview  on 
VHS.  Entry  Fee:  Features:  $50  (early),  $90 
(final;  Shorts:  $30  (early),  $50  (final). 
Contact:  MIFF,  or  FFIM;  011  39  02  8918 
1 179;  info@miff.it;  www.miff.it. 

NAMUR  INTERNATIONAL  SHORT  FILM 
FESTIVAL,  November  17-20,  Belgium. 
Deadline:  September  10.  All-short  fest 
accepts  films  30  min.  &  under,  directed  or 
produced  by  the  French  community  in 
Belgium  Cats:  short,  doc,  animation. 
Formats:  35mm,  16mm,  Beta  SP,  DigiBeta, 
DVcam,  HDcam.  Preview  on  VHS  or  DVD. 
Entry  Fee:  None.  Contact:  Media  10/10;  01 1 
32  81  654  770;  fax:  011  32  81  22  17  79; 
medial  0-1  O@province.namur.be; 
www. medial  0-1 0.be. 


28th  International  Women  Film  Festival  of  Creteil 


FILMS  S 
FEMMES 


Paris,  France 
10th-19th  March,  2006 


CALL  FOR  ENTRIES  :  Feature,  Documentary  and  Short  films 

DEADLINE:   November  30th,  2005 

To  download  the  application  form,  please  visit  our  website  : 

www.filmsdefemmes.com 


Inventing  and  changing  the  world,  searching  for  a  new  lease  of  life.  With  a  focus  on  Utopias  as  springboards  for 
the  imagination,  the  28th  Festival  invites  110  filmakers  from  all  over  the  world  to  develop  new  alternatives. 

The  CRETEIL  INTERNATIONAL  WOMEN  S  FILM  FESTIVAL  is  one  of  world  s  oldest  festival  of  films  by 
women  &  one  of  most  important  showcases.  In  Paris  suburb  of  Cr  teil,  fest  annually  attracts  audiences 
of  over  40,000,  incl.  filmmakers,  journalists,  distributors  &  buyers. 
Controversial  &  critical  discussions  traditionally  part  of  proceedings. 

Sections:  competition,  retro  of  modem  woman  director  or  actress,  young  cinema,  int  I  program. 
Competitive  section  selects  10  narrative  features,  10  feature  docs  &  30  shorts.  All  films  shown  3  times. 


Films  must  be  directed  or  co-directed  by  women;  completed  since  November,  2004;  not  theatrically  released 


in  France,  broadcast  on  French  TV  or  shown  at  other  French  fests.  Student  productions 

are  considered. 

All  subjects,  genres  &  styles  considered. 

Cats:  doc,  animation,  experimental,  feature. 

Fest  pays  for  filmmakers  accomodation  (3  days)  &  round-trip  shipping  for  films  selected. 
Awards:  Total  of  10  prizes  (up  to  25.000  $),  incl.  cash,  equipment  &  facilities  access, 
&  a  script  development  fund. 


Contact:  Jackie  Buet,  AFIFF 

Maison  des  Arts  de  Cr  teil 

Place  Salvador  Allende 

94000  Creteil,  France 

tel.  00  33  1  49  80  38  98 

fax:  00  33  1  43  99  04  10 

iris@filmsdefemmes.com 

www.filmsdefemmes.com 


64  The  Independent  I  September  2005 


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PREMIERS    PLANS    DANGERS,    Jan     20-29, 

France.  Deadline:  Oct.  15.  This  test  aims  to 
promote  European  productions  in  their  ten 
day  test.  Cats:  feature  (1st  or  2nd),  short  (1st 
only),  student.  Formats:  35mm,  16mm. 
Preview  on  VHS  or  DVD.  Entry  Fee:  None. 
Contact:  Festival;  011  33  (1)  4271  5370;  fax: 
4271  0111;  paris@premiersplans.org; 
www.premiersplans.org. 

ROTTERDAM  INTL  FILM  FESTIVAL,  Jan  25-Feb. 
5,  Netherlands.  Deadline:  October  1  (Shorts  & 
Docs);  November  1  (Features).  Largest  fest  in 
Benelux  w/  reputation  for  programming  inno- 
vative, experimental  new  works  alongside 
more  commercial  prods.  100+  features  have 
world,  int'l  or  European  premieres;  350,000 
attendances  in  previous  years.  Fest  on  par  w/ 
Berlin  &  Sundance;  describes  itself  as  "hav- 
ing eye  for  uncompromising  individualism  & 
political  &  social  aspects  of  film."  Fest  also 
hosts  Cinemart  (deadline  Oct.  1),  important 
co-prod,  market  &  meeting  place  for  produc- 
ers, distributors  &  financiers;  about  40  film 
projects  represented.  Additionally,  Hubert 
Bals  Foundation  offers  financial  support 
(deadlines  Aug.  1  &  Mar.  1)  in  cats  of  script  & 
project  development,  prod.  &  postprod.  fund- 
ing &  distribution  &  sales.  Cats:  Doc, 
Experimental,  Feature,  Short,  animation, 
installation.  Formats:  35mm,  16mm,  Beta  SP, 
DigiBeta,  CD-ROM.  Preview  on  DVD  or  VHS. 
Entry  Fee:  None.  Contact:  Programme  Dept.  ; 
(011)  31  10  890  9090;  fax:  890  9091;  pro- 
gramme@filmfestivalrotterdam.com; 
www.filmfestivalrotterdam.com. 

T0RELL0  MOUNTAIN  FILM  FESTIVAL,  Nov    11- 

20,  Spain.  Deadline:  Sept.  20.  Torello's  fest 
themes  incl.  all  aspects  of  mountains:  moun- 
taineering (alpinism,  climbing,  expeditions, 
excursions),  mountain  sports  (speleology,  ski, 
sports  climbing,  parachuting,  canoeing-raft- 
ing, adventure),  mountain  environment 
(nature  protection,  flora,  fauna,  ethnology). 
Entries  must  have  been  produced  in  previous 
3  yrs.  Cats:  doc,  short,  feature.  Formats: 
Beta,  16mm,  35mm.  Preview  on  VHS.  Entry 
Fee:  None.  Contact:  Joan  Salarich,  Festival 
Director;  01 1  34  93  850  43  21 ;  fax:  850  43  21 ; 
info@torellomountainfilm.com;  www.torel 
lomountainfilm.com. 

TORINO  FILM  FESTIVAL,  Nov  11-19,  Italy 
Deadline:  Aug.  26(shorts);  Sept.  23(features). 
The  long  running  Fest  is  a  competitive  show- 


case for  new  directors  &  filmmaking  trends 
w/  the  goal  of  helping  discover,  support  & 
promote  new  directors  &  emerging  areas  in 
film.  Sections  incl.  Int'l  Competition  for  fea- 
ture &  shorts  films  (35mm  &  16mm,  Italian 
premieres  completed  after  Oct.  1  of  previ- 
ous year);  non-competitive  section  (features, 
shorts  &  docs).  About  350  films  screened. 
Founded:  1982.  Cats:  feature,  doc,  short. 
Formats:  35mm,  16mm,  Beta  SP,  1/2", 
Digital  formats.  Preview  on  VHS  or  DVD. 
Entry  Fee:  None.  Contact:  TFF;  39  011  562 
3309;  fax:  562  9796;  luca.andreotti@tori 
nofilmfest.org;  www.torinofilmfest.org. 

TRIESTE  FILM  FESTIVAL,  Jan  19-26,  Italy 
Deadline:  Oct.  31 .  This  is  the  leading  fest  of 
Central  &  Eastern  European  Cinema  in  Italy. 
An  official  member  of  the  European 
Coordination  of  Film  Festivals,  it  is  incls.  an 
overview  of  the  best  films,  special  events  & 
monographic  reviews  from  Central-Eastern 
Europe.  Founded:  1989.  Cats:  feature,  doc, 
short.  Awards:  Cash  prizes  for  best  Feature, 
Short,  &  Doc.  Preview  on  VHS  or  DVD. 
Entry  Fee:  None.  Contact:  Annamaria 
Percavassi;  011  39  040  31  11  53;  fax:  311 
993;  info@alpeadriacinema.it;  www.alpead 
riacine  ma.it. 

VICTORIA  INDEPENDENT  FILM  &  VIDEO 
FESTIVAL,  Jan.  27-Feb.  5,  Canada.  Deadline: 
Sept.1 ;  Oct.  1 ;  Oct.  1 5  (final).  The  fest  offers 
high  quality  films,  activities  &  events, 
encourages  artistic  innovation  &  creativity, 
provides  access  for  a  broad  audience  seg- 
ment &  is  committed  to  cooperation  &  col- 
laboration w/  other  arts  organizations  as  well 
as  the  business  community.  Founded:  1995. 
Cats:  any  style  or  genre,  feature,  doc,  exper- 
imental, short,  animation.  Formats:  35mm, 
16mm,  Beta  SP,  1/2",  DV,  DVD.  Entry 
Fee:  $10;  $20  (final).  Contact:  Donovan 
Aikman,  Festival  Programmer;  (250)  389- 
0444;  fax:  389-0406;  festival@vifvf.com; 
www.vifvf.com. 

WHISTLER  FILM  FESTIVAL,  Dec  1-4,  Canada. 
Deadline:  Aug.  19  (shorts);  Sept.  23  (fea- 
tures). Held  at  the  British  Columbia 
Mountain  Resort  seeking  all  subject  matters. 
Cats:  feature,  short,  doc,  animation.  Awards: 
Noncash  awards.  Formats:  35mm,  DV.  VHS 
or  DVD.  Entry  Fee:  $25-$50.  Contact: 
Festival;  (604)  938-3209;  program@whistler 
filmfestival.com;  whistlerfilmfestival.com. 


September  2005  I  The  Independent    65 


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BUY  I  RENT  I  SELL 

ARCHIVAL  FOOTAGE  AT  LOW  PRICES,  NO  RESTRIC- 
TIONS: Offering  a  High  Quality,  Extensive  Library 
of  Public  Domain  Footage  spanning  the  20th 
Century  at  prices  independent  producers  can 
afford.  Footage  Farm  (888)  270-1414; 
www.f  ootagef  a  rm  .com . 

CAMERA  RENTALS  FOR  LOW  BUDGETS.  Production 
Junction  is  owned  &  operated  by  a  fellow 
independent.  Cameras,  Lights,  Mies,  Decks,  etc. 
Equipment  &  prices  at  www.Production 
Junction.com.  Email:  Chns@Production 
Junction.com  or  call  (917)  288-9000. 

DIGIBETA/BETA-SP  DECKS  FOR  RENT:  Best  Prices  in 
NYC!  Transfer  to  DVD  only  $40.  VHS  dubs. 
DVCAM  decks  &  camera  packages  by  day/ 
week/month.  1:1  Meridian  Avid  suite  &  MC4000 
suite.  Production  office  space,  too!  Call  Production 
Central  (212)  631-0435,  www.prodcentral.com. 

OFFICE  SPACE  within  well-established  video 
facility.  5  office  rooms/production  space  avail- 
able. Access  to  adjoining  conference  room, 
kitchen,  large  sun-filled  lounge.  Stage  &  post 
rooms  on  site.  22-year-old  full  production/post 
production  facility  seeking  media-related  tenants 
for  mutually  beneficial  relationship.  Great 
Chelsea  location.  (212)  206-1402. 

UNION  SQUARE  AREA  STAGE  RENTALS,  production 
space,  Digibeta,  Beta  SP,  DVCAM,  mmi-DV,  hi-8, 
24-P,  projectors,  grip,  lights,  dubs,  deck  and  cam- 
era rentals.  Uncompressed  Avid  and  FCP  suites, 
too.  Production  Central  (212)  631-0435. 


66  The  Independent  I  September  2005 


DISTRIBUTION 

AQUARIUS  HEALTH  CARE  VIDEOS  is  the  leading 
distributor/producer  of  documentary  films  on 
health  care  issues.  Our  programs  are  educational 
and  inspirational  and  focus  on  life  challenging  sit- 
uations. We  are  currently  seeking  additional  films 
to  add  to  our  award  winning  collection.  Our 
strong,  targeted  marketing  program  will  increase 
awareness  and  sales  for  you.  Please  send  a 
preview  vhs  or  DVD  to  Aquarius  Health  Care 
Videos,  18  North  Main  Street,  Sherborn,  MA 
01770  or  call  (888)  440-2963,  IbkOaquanus 
productions.com. 

FANLIGHT  PRODUCTIONS  25  years  as  an  industry 
leader!  Join  more  than  100  award-winning  film 
&  video  producers.  Send  us  your  new  works  on 
healthcare,  mental  health,  aging,  disabilities,  and 
related  issues.  (800)  937-4113: 

www.fanlight.com. 

THE  CINEMA  GUILD,  leading  film/video/multimedia 
distributor,  seeks  new  doc,  fiction,  educational  & 
animation  programs  for  distribution.  Send  video- 
cassettes  or  discs  for  evaluation  to:  The  Cinema 
Guild,  130  Madison  Ave.,  2nd  fl„  New  York,  NY 
10016;  (212)  685-6242;  info@cinemaguild.com; 
Ask  for  our  distribution  services  brochure. 

FREELANCE 

35MM  &  16MM  PROD.  PKG.  w/  DP.  Complete  pack- 
age w/DP's  own  Am  35BL,  16SR,  HMIs,  lighting, 
dolly,  Tulip  crane,  camjib,  DAT,  grip  &  5-ton  truck, 
more.  Call  for  reel:  Tom  Agnello  (201)  741-4367; 
roadtomdy@aol.com. 


ACCOUNTANT/BOOKKEEPER/CONTROLLER 

Experience  in  both  corporate  &  nonprofit  sectors. 
Hold  MBA  in  Marketing  &  Accounting.  Freelance 
work  sought.  Sam  Sagenkahn  (917)  374-2464 

ANDREW  DUNN,  Director  of  photography/  camera 
operator  Arn35  BL3,  Aaton  XTRprod  S16,  Sony 
DVCAM.  Experience  in  features,  docs,  TV  & 
industrials.  Credits:  Dog  Run,  Strays,  Working 
Space/Working  Light.  (212)  477-0172; 
AndrewDI  58@aol.com. 


ARE  YOU  STUCK?  Fernanda  Rossi,  script  &  docu- 
mentary doctor,  specializes  in  narrative  structure  i 
all  stages  of  the  filmmaking  process,  includinc 
story  development,  fundraismg  trailers  and  post- 
production.  She  has  doctored  over  30  films  and  is 
the  author  of  Trailer  Mechanics.  For  private 
consultations  and  workshops  visit  www.doci 
mentarydoctor.com  or  write  to  info@documen 
tarydoctor.com. 

COMPOSER  MIRIAM  CUTLER  loves  to  collaborate  A 
docs,  features.  Lost  In  La  Mancha/IFC,  Scout's  j 
Honor,  Licensed  To  Kill,  Pandemic:  Facingj 
Aids/HBO,  Indian  Point/HBO,  Positively; 
Naked/HBO,  Stolen  Childhoods,  Amy's  0  & 
more.  (310)  398-5985  mir.cut@verizon.net.j 
www.miriamcutler.com. 

COMPOSER:  Original  music  for  your  film  or  videoJ 
project.  Will  work  with  any  budget.  Complete  dig- 
ital studio.  NYC  area.  Demo  CD  upon  request. 
Call  Ian  O'Brien:  (201)  222-2638;  iobnen@bellat- i 
lantic.net. 


DP  WITH  ARRI  SR  SUPER  16/16MM  AND  35BL-2 
CAMERA  PACKAGES.  Expert  lighting  and  camera- 


work  for  independent  films,  music  videos, 
etc.  Superb  results  on  a  short  schedule  and 
low  budget.  Great  prices.  Willing  to  travel. 
Matthew  617-244-6730. 

EXPERIENCED  CINEMATOGRAPHER  with  crew 
and  equipment.  16mm  35mm  Video.  Short 
films  and  features.  Vincent  (212)  779-1441. 

FREELANCE  CAMERA  GROUP  IN  NYC  seeking 
professional  cameramen  and  soundmen  w/ 
solid  Betacam  experience  to  work  w/  wide 
array  of  clients.  If  qualified,  contact  COA  at 
(212)  505-1911.  Must  have  documentary 
/news  samples  or  reel. 

FUNDRAISING/GRANTWRITING/PROJECT  DEVEL- 
OPMENT: Research,  writing  &  strategy  for  pro- 
duction, distribution,  exhibition  &  educational 
media  Successful  proposals  to  NYSCA,  NEA, 
Sundance  ,  ITVS,  Rockefeller  Foundation, 
Robeson  Foundation.  Fast  writers,  reasonable 
rates.  Wanda  Bershen,  (212)  598-0224; 
ww.reddiaper.com. 

LOCATION  SOUND:  Over  25  yrs.  sound  exp.  w/ 
timecode  Nagra  &  DAT,  quality  mics  &  mixers. 
Reduced  rates  for  low-budget  projects. 
Harvey  &  Fred  Edwards,  (518)  677-5720; 
(819)  459-2680;  edfilms@worldnet.att.net; 
www.edwardsfilms.com. 

NEW  MUSIC  PRODUCTION  COMPANY  with 
many  years  combined  composing  experience. 
Audio  reel  provides  all  the  services  that  you 
may  require  for  your  production,  from  scoring 
to  picture,  tooflash  music  for  websites. 


I    I    I    I    I    I    I    I 


Ramin  Andre  Fathie 

J^ifecto)'  of  ^kotoai^tiS^tyi 

Complete  HD,  SD,  Mini  DV  Packages 
Narrative,  Documentary,  Commercial  Projects 

General  Liability,  Equipment  Insurance,  Workman's  Comp 
Website  and  Online  Reel: 

www.viceroyfilms.com 

Phone:  212.725.9818 
E-mail:  ramin@viceroyfilms.com 


I    I    I    I    I    I    I    I 


POV 


pov.org 


National  exposure,  viewer  feedback,  cachet  in  film  circles,  and. 

yes,  money  that  can  help  pay  off  production  costs  are  some  of 

the  benefits  of  having  a  film  selected  by  TV's  longest-running 

nonfiction  film  series."  -Bill  Keveney,  USA  Today 


P.O.V.  Films  Receive  3  News  &  Documentary 
Emmy  Award  Nominations 

LOST  BOYS  OF  SUDAN*  and  EVERY  MOTHER'S  SON* 

*Co-Presented  by  the  Independent  Television  Service  (ITVS) 

Congratulations  Megan  Mylan  &  Jon  Shenk  (Lost  Boys  of  Sudan) 
and  Tami  Gold  &  Kelly  Anderson  (Every  Mother's  Son) 


Watch  P.O.V.'s 
The  Hobart  Shakespeareans 

by  Mel  Stuart 
Tuesday  September  6,  2005  at  10  PM 

(check  local  listings) 

Visit  www.pbs.org/pov  tor  September's  Lineup 


THE  REEL  VISION 
FILMMAKERS'  CONFERENCE 

It's  time  (or  a  new  day  to  rise  on  the  silver  screen. 
Make  it  your  vision. 


Cutting  edge 
instruction  ~ 

'amela  Taye  Smith:  Founder, 
Mythworks;  Producer  /Writer 
/Director  for  Paramount  Pictures, 
Columbia-Sony. 

Dr.  Linda  Seger:  Studio  Script  Consultant, 
author  of  Making  a  Good  Script  Great 


October  21  -  23,  2005 

Radisson  Citv  Center 

TUCSON,. 


Distribution,  writer  of 
The  Complete  Independent 
Movie  Marketing  Handbook. 

Kate  McCallum:  Writer /Producer  in 
development  at  NBC /Universal  TV, 
created  "The  Great  Idea"  for  scr(i)pt. 

Dr.  Sam  Smiley:  Screenwriter, 
author  of  Playwriting: 
the  Structure  of  Action.  Sponsored  by: 

Reel.  Inspiration, 

Uniting  tne  fucson  Film  Office, 

&  the  Jack  and  Vivian 
Hanson  Film  Institute 

Registration  by  Sept.  21  costs  only  $85! 

www.reeIinspiration.org 

reeIinspiration@hotmaiI.com 


September  2005  I  The  Independent    67 


WHICH  SEAT  FITS  YOU  BESTP 


7 


DIRECTOR 


ONE  YEAR  PROGRAMS 

Directing  for  Film 

Acting  for  Film 

Screenwriting 

Producing 

3-D  Animation  and  Special  Effects 


From  the  most  dynamic  and  innovative  film  &  acting  school 
in  the  world:  summer,  evening  &  year  round  workshops, 
plus  hands-on  1, 4,  6  and  8  week  total  immersion  workshops 

DIRECTING  •  PRODUCING  •  ACTING  •  SCREENWRITING 

MUSIC  VIDEOS  •  3-D  ANIMATION  •  DIGITAL  FILMMAKING  •  EDITING 


1.800.611.FILM 
WWW.NYFA.COM 


NEW  YORK  CITY 
UNIVERSAL  STUDIOS 
DISNEY-MGM  STUDIOS* 


HARVARD  UNIVERSITY* 
PRINCETON  UNIVERSITY* 
COLORADO  FILM  SCHOOL 


LONDON,  ENGLAND 

FLORENCE,  ITALY* 

PARIS,  FRANCE* 


NEW  yCCI\  PILM  ACADCMr 


LONDON,  ENGLAND 

King's  College  London 

26-29  Drury  Lane,  London  WC2B  5RL 

tel  020-7848-1523  •  fax  020-7848-1443 

email:  filmuk@nyfa.com 


awe 


;camp 


NEW  YORK  CITY 

100  East  17th  Street 
New  York  City  10003 


BH 


tel  212-674-4300  •  fax  212-477-1414 
email:  film@nyfa.com 


UNIVERSAL  STUDIOS 

Gate  4,  Barham  Blvd.,  Lakeside  Plaza 

Los  Angeles,  California  91608 

tel  818-733-2600  •  fax  818-733-4074 

email:  studios@nyfa.com 


All  workshops  are  solely  owned  and  operated  by  the  New  York  Film  Academy  and  are  not  affiliated  with  Harvard  University,  Princeton  University,  Universal  orDisney-MGM  Studios  'Summer  only 


OPPORTUNITIES  I  GIGS 

50  WAYS  TO  IMPROVE  YOUR  VIDEO  BUSINESS. 

FREE  REPORT.  Grow  a  successful  video  busi- 
ness in  Legal,  Wedding,  Corporate,  TV  etc. 
http://videouniversity.com/50web.htm 

CAREER  AND  SCRIPT  CONSULTANT-Emmy  nom- 
inated Ellen  Sandler  (Co-Executive  Producer 
"Everybody  Loves  Raymond")  can  help  anyone 
avoid  costly,  time  consuming  pitfalls  and  dead 
ends  in  the  Hollywood  game.  She  works  one 
on  one  with  you  on  pitching  skills,  script  re- 
writes, career  strategies,  including  network- 
ing and  relocating  to  Los  Angeles.  Her 
approach  follows  specific  guidelines  and 
proven  techniques,  but  is  always  customized 
to  the  specific  needs,  strengths  and  budget  of 
each  client.  Email:  elsand@comcast.net  for 
more  information  and  to  request  a  sample 
consultation  at  no  charge. 

DHTV,  a  progressive,  nonprofit  community 
media  center  and  TV  station  in  St.  Louis,  MO 
seeks  works  by  indie  producers.  Half  hour  and 
1  hour  lengths.  S-VHS  accepted,  DVD 
preferred.  Nonexclusive  rights  release  upon 
acceptance.  No  pay  but  exposure  to  60,000 
cable  households.  Contact  Mariah 
Richardson,  dhTV,  625  N.  Euclid,  St.  Louis, 
MO  63108,  314.361.8870  x230, 
mariah@dhtv.org. 

LOOKING  FOR  A  GREAT  STORY   Set    In   The 

Heartland?  See,  "How  High  Is  A  Robin's 
Nest?"  At  www.ronniebooks.com. 

POSTPRODUCTION 

BRODSKY  &  TREADWAY:  film-to-tape  transfers, 
wet-gate,  scene-by-scene,  reversal  film  only. 
Camera  original  Regular  8mm,  Super  8,  and 
16mm.  For  appointment  call  (978)  948-7985. 

CERTIFIED  FINAL  CUT  PRO  INSTRUCTOR  AND  EDI- 
TOR: DV  and  Beta  SP  -  learn  Final  Cut  Pro  from 
professional  editor  and  Apple  Certified 
instructor.  Log  ontowww.HighNoonprod.com 
or  call  917-523-6260;  email  Info 
©HighNoonProd.com. 

PRODUCTION  TRANSCRIPTS:  Verbatim  tran- 
scription service  for  documentaries.journal- 
ists,  film  and  video.  Low  prices  &  flat  rates 
based  on  tape  length,  www.productiontran 
scripts.com  for  details  or  call:  (888)  349-3022. 


PREPRODUCTION  I 
DEVELOPMENT 

GET  YOUR  SCREENPLAY  READY  FOR  PRODUC- 
TION! Former  Miramax  story  analyst,  School 
of  Visual  Arts  professor  and  author  of 
Aristotle's  Poetics  for  Screenwriters 
(Hyperion,  August  2002),  will  analyze  your 
screenplay  and  write  you  constructive  in- 
depth  studio  style  notes.  I  go  right  to  the  heart 
of  what  works  in  your  script  and  what  needs 
improvement  as  well  as  offering  suggestions 
about  HOW  to  fix  it.  Trust  me,  I'm  not  looking 
for  "formulas."  Every  screenplay  is  different. 
Since  I'm  an  independent  filmmaker,  I  special- 
ize in  helping  filmmakers  get  their  scripts 
ready  for  shooting.  Face  it.  You're  going  to 
spend  a  lot  of  money  to  make  your  film. 
Spend  a  little  up  front  to  make  sure  your  script 
works.  It's  the  ONLY  way  to  pull  off  a  low- 
budget  film  effectively!  It  will  cost  you  1000 
times  more  to  fix  script  problems  AFTER  the 
production  begins.  Reasonable  rates,  refer- 
ences. Michael  Tierno,  mtierno@nyc.rr.com, 
www.moviepoetics.com. 


Free  Project  Evaluation 


244  Fifth  Avenue  Suite  u  2518.  NY  N.V.  1000 ! 


W/  8  YEARS  MIRAMAX  EXPERIENCE,  SCRIPT/ 
STORY/ CREATIVE  CONSULTANT  Maureen  Nolan 
offers  a  full  range  of  consulting  services  for 
writers  and  filmmakers.  Script  consults, 
coaching,  story  development,  rewrites,  etc. 
212-663-9389  or  917-620-6502. 

WEB 

WEB  SITE  DESIGNER:  Create  multimedia  web 
sites,  integrating  video,  sound,  and  special 
effects,  that  promote  your  films  and/  or  your 
company,  www.____________design.com. 
Info:  ______  ______,  phone:  ___-___-____, 
email:  ______@______.net 


CALL 

FOR 

ENTRIES 


BERMUDA 

INTERNATIONAL 


FESTIVAL 

MARCH  17th  -  25th,  2006 

The  Academy  of  Motion  Picture  Arts  and 
Sciences  has  elected  to  recognize  the  Bermuda 
International  Film  Festival  as  a  qualifying 
festival  for  the  Short  Films  category  for  the 
Annual  Academy  Awards®.  Send  us  your 
compelling  narrative  and  documentary  features, 
too.  Awards  in  all  three  categories,  plus  our 
Audience  Choice  Award.  Entry  deadline: 
1  October  2005.  Works-in-progress  welcome.  See 
website  for  entry  form  or  contact  us  directly. 

Website:  www.biff.bm 

E-mail:  info@biff.bm 

Tel:  (441)  293-3456   Fax:  (441)  293-7769 


Advancing  the  love  of  independent  film 


standt 

program 


Standby  provides  artists  & 
independen^makers  access  to 
the  latest  media  arts  services  at 
top-rated  post-production  studios 
at  discounted  rates. 

Audio,  Film  &  Video 
Post  Production  Services 

Broadcast  Quality  Editing 
JDigrril  Effects 
Sound  Design  &  Mixing 
Film  Processing 
Film  to  Tape  Transfer 
Conversion  &  Duplication 
DVD  Authoring 
Tape  Preservation  Services 
Technical  Consultation 

Serving  the  community  for 
over  20  Years! 

www.standby.org 

info@standby.org 
212.206.7858 


September  2005  I  The  Independent  69 


^ 


■^ 


< 


f 


\ 


V        m 

v 


\ 


Think  Oregon. 

hink  Green 


With  a  host  of  new 

incentive  programs 

you  might  be 

surprised  how 

iregon  stacks  up 

against  the  competition. 

Give  us  a  call  to 

explore  what  our 

urograms  can  do 

for  your 

ottom 

line. 


Contact  us  at:  shoot@oregonfilm.org  |  p  503.229.5832  |  f  503.229.6869 


THANK  YOU 


The  Association  of  Independent  Video  and  Filmmakers 
(AIVF)  provides  a  wide  range  of  programs  and  services 
for  independent  moving  image  makers  and  the  media 
community,  including  The  Independent  and  a  series  of 
resource  publications,  seminars  and  workshops,  infor- 
mation services,  and  arts  and  media  policy  advocacy. 

None  of  this  work  would  be  possible  without  the 
generous  support  of  the  AIVF  membership  and  the 
following  organizations: 

We  also  wish  to  thank  the  following  individuals  and 
organizational  members: 


& 


NYSCA 


O 

PBS 

A 


City  of  New  York  Dept.  of  Cultural  Affairs 

Discovery  Wines 

Experimental  Television  Center  Ltd. 

Forest  Creatures  Entertainment,  Inc. 

Home  Box  Office 

The  Jewish  Communal  Fund 

John  D.  and  Catherine  T.  MacArthur  Foundation 

The  Nathan  Cummings  Foundation 

The  National  Endowment  for  the  Arts 

New  York  State  Council  on  the  Arts 

The  Norman  and  Rosita  Winston  Foundation 

PBS 

Yuengling  Beer 

The  Advertising  Club 


BUSINESS/INDUSTRY  MEMBERS:  AZ:  Ascension  Pictures;  CA: 
llluminaire  Entertainment;  SJPL  Films,  Ltd.;  CO:  Pay  Reel;  CT: 
Anvil  Production;  DC:  Corporation  for  Public  Broadcasting;  FL:  Key 
West  Films  Society;  New  Screen  Broacasting;  GA:  Lab  601  Digital 
Post;  IL:  Shattering  Paradigms  Entertainment,  LLC;  MA:  Exit  One 
Productions;  MD:  NewsGroup,  Inc.;  TLF  Limited  Management; 
Ml:  Logic  Media  LLC;  MS:  Magnolia  Independent  Film  Festival; 
NH:  Kinetic  Films;  NY:  Baraka  Productions;  Cypress  Films;  DeKart 
Video;  Deutsch/Open  City  Films;  Docurama;  Forest  Creatures 
Entertainment;  getcast.com;  Gigantic  Brand;  Harmonic  Ranch; 
Lantern  Productions;  Larry  Engel  Productions  Inc.;  Lightworks 
Producing  Group;  Mad  Mad  Judy;  Missing  Pixel;  Off  Ramp  Films, 
Inc.;  On  the  Prowl  Productions;  OVO;  Possibilites  Unlimited; 
Production  Central;  Range  Post;  Robin  Frank  Management; 
Rockbottom  Entertainment,  LLC;  Triune  Pictures;  United  Spheres 
Production;  OR:  Art  Institute  of  Portland;  Media  Del'Arte;  Rl:  The 
Revival  House;  VA:  Karma  Communications  Film  &  Video;  WA: 
Sound  Wise;  Two  Dogs  Barking; 

NONPROFIT  MEMBERS:  AR:  Henderson  State  University; 
AZ:  Pan  Left  Productions;  CA:  Bay  Area  Video  Coalition;  California 
Newsreel;  Everyday  Gandhis  Project;  Film  Arts  Foundation; 
International  Buddhist  Film  Festival;  NAATA/Media  Fund;  NALIP; 
Sundance  Institute;  USC  School  of  Cinema  and  TV;  CO:  Denver 
Center  Media;  Free  Speech  TV:  CT:  Hartley  Film  Foundation;  DC: 
American  University  School  of  Communication;  CINE;  FL:  Miami 
International  Film  Festival;  University  of  Tampa;  GA:  Image  Film 
and  Video  Center;  HI:  Pacific  Islanders  in  Communications;  IL:  Art 
Institute  of  Chicago  (Video  Data  Bank);  Community  Television 
Network;  Department  of  Communication/NLU;  Kartemquin  Films; 
IN:  Fort  Wayne  Cinema  Center;  KY:  Appalshop;  MA:  CCTV; 
Documentary  Educational  Resources;  Harvard  University, 
OsCLibrary;  LTC;  MD:  Laurel  Cable  Network;  Silverdocs:  AFI 
Discovery  Channel  Doc  Festival;  ME:  Maine  Photographic 
Workshop;  Ml:  Ann  Arbor  Film  Festival;  MN:  IFP/MSP;  Walker  Art 
Center;  MO:  dhTV;  Webster  University  Film  Series;  NC: 
Broadcasting/Cinema;  Calcalorus  Film  Foundation;  Duke 
University,  Film  &  Video  Dept.;  NE:  Nebraska  Independent  Film 
Project/AIVF  Salon  Lincoln;  NJ:  Black  Maria  Film  Festival;  Capriole 
Productions;  Freedom  Film  Society,  Inc.;  Princeton  University, 
Program  in  Visual  Arts;  NM:  Girls  Film  School;  University  of  New 
Mexico;  NY:  ActNow  Productions;  Arts  Engine;  Cornell  Cinema; 
Council  for  Positive  Images,  Inc.;  Creative  Capital  Foundation; 


Crowing  Rooster  Arts;  Dutchess  Community  College  Student 
Activites;  Educational  Video  Center;  Experimental  TV  Center;  Film 
Forum;  Film  Society  of  Lincoln  Center;  Firelight  Media; 
International  Film  Seminars;  LMC-TV;  Manhattan  Neighborhood 
Network;  National  Black  Touring  Circuit;  National  Black 
Programming  Consortium;  National  Musuem  of  the  American 
Indian;  National  Video  Resources;  New  York  University,  Cinema 
Studies;  New  York  Women  in  Film  and  Television;  Parnassus 
Works;  POV/The  American  Documentary;  RIT  School  of  Film  and 
Animation;  Squeaky  Wheel;  Standby  Program;  Stonestreet 
Studios  Film  and  TV  Acting  Workshop;  Stonestreet  Studios  Film 
and  Television  Acting  Workshop;  Stony  Brook  Film  Festival; 
Syracuse  University;  United  Community  Centers;  Upstate  Films, 
Ltd.;  Witness;  Women  Make  Movies;  OH:  Athens  Center  for  Film 
And  Video;  Independent  Pictures/AIVF  Ohio  Salon;  Media  Bridges 
Cincinatti;  School  of  Film,  Ohio  University;  Wexner  Center;  OR: 
Northest  Film  Center;  The  Oregon  Film  &  Video  Foundation;  PA: 
American  INSIGHT,  Inc.;  TeamChildren.com;  Rl:  Flickers  Arts 
Collaborative;  SC:  Department  of  Art,  University  of  South  Carolina 
South  Carolina  Arts  Commission;  TX:  Austin  Film  Society 
Houston  Film  Commission;  Southwest  Alternate  Media  Project 
University  of  Texas  RTF;  UT:  Sundance  Institute;  WA:  Seattle 
Central  Community  College;  Canada:  Cinematheque  Quebecoise 
Musee  Du  Cinema;  Banff  Centre  Library;  France:  The  Carmago 
Foundation 

FRIENDS  OF  AIVF:  Angela  Alston,  Sabina  Maja  Angel,  Tom 
Basham,  Aldo  Bello,  David  Bemis,  Doug  Block,  Liz  Canner,  Hugo 
Cassirer,  Williams  Cole,  Anne  del  Castillo,  Arthur  Dong,  Martin 
Edelstein,  Esq.,  Aaron  Edison,  Paul  Espinosa,  Karen  Freedman, 
Lucy  Garrity,  Norman  Gendelman,  Debra  Granik,  Catherine  Gund, 
Peter  Gunthel,  David  Haas,  Kyle  Henry,  Lou  Hernandez,  Lisa 
Jackson,  John  Kavanaugh,  Stan  Konowitz,  Leonard  Kurz,  Lyda 
Kuth,  Steven  Lawrence,  Bart  Lawson,  Regge  Life,  Juan 
Mandelbaum,  Diane  Markrow,  Tracy  Mazza,  Leonard  McClure, 
Daphne  McDuffie-Tucker,  Jim  McKay,  Michele  Meek,  Robert 
Millis,  Robert  Millis,  Richard  Numeroff,  Elizabeth  Peters,  Laura 
Poitras,  Robert  Richter,  Hiroto  Saito,  Larry  Sapadm,  James 
Schamus,  John  Schmidt,  Nat  Segaloff,  Robert  Seigel,  Gail  Silva, 
Innes  Smolansky,  Barbara  Sostaric,  Alexander  Spencer,  Miriam 
Stern,  George  Stoney,  Rhonda  Leigh  Tanzman,  Rahdi  Taylor,  Karl 
Trappe,  Jane  Wagner,  Bart  Weiss 


September  2005  I  The  Independent    71 


THE  LIST 


money  grubbers 


By  Lindsay  Gelfand 


How  far  have  you  gone  to  finance  your  film? 


"I  once  financed  a  soundtrack  for  a  short  animated  film  by 
selling  off  all  of  my  tribal  belly-dance  clothes.  I  held  the  sale  in 
my  studio  with  a  group  of  girlfriends  who  were  also  dancers.  I 
made  elegant  email  and  snail  mail  flyers  for  the  sale  and  sent 
them  to  lots  of  dancers.  Everything  sold  like  hotcakes.  I  was 
astounded  by  how  much  money  we  made  in  four  hours." 

— Joanna  Priestley,  director/producer,  Dew  Line  (2005) 

"We  used  to  have  a  'donate'  button  on  our  website 
(www.thedword.com),  and  to  my  great  surprise  and  pleasure, 
people  actually  clicked  on  it.  They  would  include  little  notes 
with  their  donations,  which  came  in  from  around  the  world  (5 
euros  here,  10  yen  there).  One  woman  wrote  in  a  proposal:  'If  I 
donate  10  BPS,  will  you  show  real  dykes  fucking?'  Happily,  that 
was  already  in  the  script  and  we  were  able  to  rent  one  more  C 
Stand  because  of  it!" 

— Dasha  Snyder,  writer/creator/executive  producer, 

The  D  Word  (2005) 

"I  don't  have  the  ability  to  money  grub  or  fundraise,  so 
instead,  I  shoot  short,  Super  8  and  16mm  handmade,  animat- 
ed and  experimental  films.  They're  more  like  poems.  Short, 
messy  poems.  I  even  hand  process  them  myself  sometimes  for 
the  look  and  to  save  money.  Then  I  try  to  get  someone  to  show 
them  to  people  (usually  festivals).  My  best  strategy  is  to  make 
very  interesting  work  with  very  little  money." 

— Kelly  Spivey,  filmmaker, 
Poor  White  Trash  Girl-Class  Consciousness  (2003) 

"I  moved  to  Europe  eight  years  ago  when  I  realized  that  liv- 
ing in  America  meant  I  either  got  into  a  career  I  didn't  want 


(graphic  design)  or  compromising  on  the  films  I  made  or  how 
I  made  them.  Living  in  a  country  with  proper  arts  funding  has 
meant  that  my  work  can  be  as  obscure/radical/experimental  as 
it  needs  to  be,  and  I  can  still  get  it  funded  so  they  don't  just  look 
like  I  cobbled  them  together.  I've  had  films  in  Sundance  and 
hundreds  of  festivals  and  bought  for  broadcast.  I  doubt  any  of 
this  would  have  been  possible  in  the  U.S.  where  I  would  prob- 
ably be  living  in  New  York  as  a  probably  very  successful  book 
cover  designer." 

— Tina  Gharavi,  producer/director,  Closer  (2000),  and 

Mother/Country  (2003) 

"I  was  involved  in  an  industrial  accident  (right  arm  pulled 
into  heavy  machinery  and  smushed).  After  hospitalization  and 
recovery,  I  received  some  settlement  money  and  used  it  to 
finance/co-finance  four  features,  My  Degeneration,  Hippy  Porn, 
Mod  Puck  Explosion,  and  Fame  Whore.  And  no,  I  didn't  inten- 
tionally plan  this  mode  of  financing." 

— Jon  Moritsugu,  writer/director, 
Fame Whore  (1997) 

"I  feel  funny  asking  people  for  money  to  fund  my  projects; 
instead,  I  look  for  bartering,  I-scratch-your-back-you-scratch- 
mine  deals.  For  example,  I  like  to  proofread,  so  in  the  past  I've 
asked  a  friend  who  is  knowledgeable  about  audio  for  film  to 
trade  favors.  He  fixed  the  audio  on  my  film;  I  revised  his  grant 
application.  If  bartering  doesn't  work,  I  resort  to  the  old  but 
timeless  tradition  of  hustling:  faking  student  IDs  and  sneaking 
into  the  A/V  departments  of  local  universities." 

— Lala  Endara,  director,  Saul  Searching  (2003) 


72  The  Independent  I  September  2005 


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a  magazine  for  video  and  filmmakers 


THE 


October  2005 


A  Publication  of  The  Association  of  Independent  Video  and  Filmmakers 

www.aivf.org 


Introducing  ITN  Archive 


Looking  for  original  footage? 
Allow  us  to  introduce  ourselves. 

One  of  the  world's  largest  archives. 


We  can  help  you.  Our  archive  spans  three  centuries  and 
comprises  680,000  hours  of  footage.  Our  vast  collection 
holds  unseen  original  content  as  well  as  some  of  the 
world's  most  iconic  moving  images. 


Start  your  search  with  us 


US  Sales 

Telephone: 
Email: 


+  1  646  723  9540 

nysales@itnarchive.com 

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ITN  Archive 

archive 

JlWIliVt 
Uiv^i  live 


www.itnarchive.com 


An  ITN 
Enterprise 


was  made  with  SAG's  Low  Budget  Affirmative  Action 
Agreement  using  professional  actors. 


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imagine 
anyone  else 
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S  C  R  E  EN      AC  T  O  R  S      G 


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Directing  for  Film  •  Acting  for  Film 

Screenwriting  •  Producing 
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From  the  most  dynamic  and  innovative 
film  &  acting  school  in  the  zvorld: 

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NEW  YORK  CITY 

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New  York  City  10003 
tel  212-674-4300  •  fax  212-477-1414 
email:  film@nyfa.com 


UNIVERSAL  STUDIOS 

Gate  4,  Barham  Blvd.,  Lakeside  Plaza 

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tel  818-733-2600  •  fax  818-733-4074 

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All  workshops  are  solely  owned  and  operated  by  the  New  York  Film  Academy  and  are  not  affiliated  with 
Harvard  University,  Princeton  University  St  Catherine's  College  in  the  University  of  Oxford.  Universal  or  Disney-MGM  Studios.  'Summer  only. 


Volume  28  Number  8 

Cover:  Filmmaker  Ira  Sachs  {Forty  Shades  of  Blue)  [photo  by  Nino  Munoz] 


Contents 


Upfront 


Features 


5  EDITOR'S  LETTER 

6  CONTRIBUTORS 

7  MEMBERS  IN  THE  NEWS 

8  NEWS 

Michael  Moore's  film  festival  spurs  competition 
from  conservatives;  filmmakers  use  aggressive 
web  tactics  to  find  distribution;  the  NBPC's  new 
leader;  MoMA's  Jerome  Hill  tribute 
By  Katherine  Dykstra 

12  PRODUCTION  JOURNAL 

A  South  African  filmmaker  enrolled  1 ,000 
producers  to  fund  his  first  film,  Boy  Called  Twist 
By  Tim  Greene 

17  PROFILE 

The  colorful  Ira  Sachs  and  his  Forty  Shades  of  Blue 
By  Rick  Harrison 

21  ON  THE  SCENE 

The  new  IFC  Center  crashes  New  York's 
arthouse  scene 

By  Nicole  Davis 


41  POLICY 

Deep  Focus  offers  politically  insightful  ideas  about 
the  future  of  filmmaking 
By  Matt  Dunne 

45  LEGAL 

Everything  a  screenwriter  should  know  about 
credits — from  a  legal  point  of  view 
By  Fernando  Rodriguez,  Esq. 

47  DOC  DOCTOR 

What  to  do  if  your  audience  isn't  "getting"  your 
story;  which  of  your  many  ideas  is  the  one? 
By  Fernanda  Rossi 


25  CREATING  COMPELLING 
CHARACTERS 

What  screenwriters  can  learn  from  the  novel 
By  Jeff  Bens 

29  ON  THE  SAME  PAGE 

Screenwriting  teams  discuss  collaboration 
By  Lisa  Selin  Davis 

33  PIECING  IT  TOGETHER 

Storytelling  in  the  digital  age 
By  David  Aim 

37  TURNING  BOOKS  INTO  SCRIPTS 
How  indies  do  it  differently 
By  Elizabeth  Angell 


Listings 

50  FESTIVALS 
56  NOTICES 

59  WORK  WANTED 

60  CLASSIFIEDS 

63  THANKS 

64  THE  LIST 


www.aivf.org 


October  2005  I  The  Independent    3 


Production  Insurance,  Errors  &  Omissions,  etc. 

Debra  Kozee 


ioteeW  csms.com 


19  Fulton  Street,  Suite  308 A,  New  York,  NY  10038 

Tel:  800.257.0883       Fax:  212.406.7584 

www.aocumentary-rnsurance.com 


EiILLBMEMBER  DISCOUNT! 
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email:  toolkit  imedianqhts.org 


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WHAT  YOU  GET 

•  Interactive  Budget 

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MEDIA 

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archive@witness.org 


■  |    FILM  AND  VIDEO  MONTHLY  | 

independent 

Publisher:  Bienvenida  Matias 

[publisher@aivf.org] 

Editor-in-Chief:  Rebecca  Carroll 

[editor@aivf.org] 

Managing  Editor:  Shana  Liebman 

[independent@aivf.org] 

Associate  Editor:  Katherine  Dykstra 

[fact@aivf.org] 

Designer:  R.  Benjamin  Brown 

[benbrowngraphic@msn.com] 

Production  Associate:  Timothy  Schmidt 

[graphics@aivf.org] 

Editorial  Associate:  Erica  Berenstein 

[notices@aivf.org] 

Contributing  Editors: 

Sherman  Alexie,  David  Aim,  Pat  Aufderheide, 

Momque  Cormier,  Bo  Mehrad.  Cara  Merles,  Kate  Tuttle 

Contributing  Writers: 

Elizabeth  Angell,  Margaret  Coble,  Lisa  Selin  Davis, 

Matt  Dunne,  Gadi  Harel,  Rick  Harrison 

Advertising  Representative:  Veronica  Shea 

(212)  807-1400  x232:  [veronica@aivf.org] 

Advertising  Representative:  Michael  Tierno 

(212)  807-1400  x234;  [mike@aivf.org] 

Classified  Advertising:  Michael  Tierno 

(212)  807-1400  x241;  [classifieds@aivf  org] 

• 

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POSTMASTER:  Send  address  changes  to: 

The  Independent 
304  Hudson  St.,  6  fl„  New  York,  NY  10013 

The  Independent  (ISSN  1077-8918)  is  published  monthly  (except 
combined  issues  January/February  and  July/August)  by  the 
Foundation  for  Independent  Video  and  Film  (FIVF),  a  501(c)(3) 
dedicated  to  the  advancement  of  media  arts  and  artists. 
Subscription  to  the  magazine  is  included  in  annual  membership 
dues  ($70/yr  individual;  $40/yr  student;  $200/yr  nonprofit/school; 
$200-700/yr  business/industry)  paid  to  the  Association  of 
Independent  Video  and  Filmmakers  (AIVF),  the  national  profes- 
sional association  of  individuals  involved  in  moving  image  media. 
Library  subscriptions  are  $75/yr.  Contact:  AIVF,  304  Hudson  St., 
6  fl.,  New  York,  NY  10013,  (212)  807-1400;  fax:  (212)  463-8519; 
info@aivf.org. 

Periodical  Postage  paid  at  New  York,  New  York 
and  at  additional  mailing  offices. 

Printed  in  the  USA  by  Cadmus  Specialty  Publications 


^ 


Publication  of  The  Independent  is  made  possible 
in  part  with  public  funds  from  the  New  York  State  Council 
on  the  Arts,  a  state  agency,  and  the  National  Endowment 
for  the  Arts,  a  federal  agency. 


Publication  of  any  ad  in  The  Independent  does  not  constitute  an 
endorsement.  AIVF/FIVF  are  not  responsible  for  any  claims  made  in 
an  ad.  All  contents  are  copyright  of  the  Foundation  for  Independent 
Video  and  Film,  Inc.  Reprints  require  written  permission  and  acknowl- 
edgement of  the  article's  previous  appearance  in  The  Independent 
The  Independent  a  indexed  in  the  Alternative  Press  Index  and  is  a 
member  of  the  Independent  Press  Association. 

AIVF/FIVF  staff:  Bienvenida  Matias,  executive  director,  Sean 
Shodahl,  program  director;  Priscilla  Grim,  membership  director;  Bo 
Mehrad,  information  services  director;  Fred  Grim,  technology  con- 
sultant; Katia  Maguire  Arias,  Kara  Di  Pietro,  Rabecca  Hoffman,  Clara 
de  los  Reyes,  interns;  AIVF/FIVF  legal  counsel:  Robert  I.  Freedman, 
Esq.,  Cowan,  DeBaets,  Abrahams  &  Sheppard. 

AIVF  Board  of  Directors:  Joel  Bachar.  Paula  Manley  (Secretary), 
Bienvenida  Matias  lex  oficio),  Simon  Tarr  (Chair/Treasurer),  Elizabeth 
Thompson  (President),  Bart  Weiss. 

©  Foundation  for  Independent  Video  &  Film,  Inc.  2005 
Visit  The  Independent  online  at:  www.aivf.org 


4  The  Independent  I  October  2005 


EDITOR'S  LETTER 


Dear  Readers, 

Every  time  I  experience  even  the 
slightest  devastation — a  breakup  with  a 
boyfriend,  a  favorite  shirt  shrinks  in  the 
dryer,  another  free-spirited  artist  friend 
moves  to  suburban  New  Jersey — my 
mother's  words  of  comfort  are  always 
the  same:  Well,  at  least  you  can  write 
about  it. 

While  I'm  in  the  dramatic  throes  of 
misery,  this  is  an  immensely  unsatisfying 
response,  but,  ultimately,  my  mother,  as 
always,  is  right:  Our  best  stories  come 
from  real-life  intensities,  no  matter  how 
small,  and  the  writer's  job  is  to  use  those 
moments  to  create  stories  that  others  will 
find  meaningful. 

Of  course  it's  never  that  easy.  Picture 
Barton  Fink  in  his  dreary  hotel  room, 
struggling  to  write  his  wrestling  picture  as 
evil  Hollywood  and  his  satanic  neighbor 
conspire  against  him.  Writing  can  feel 
just  this  hellish — frustrating,  doomed, 
infinite,  isolating,  revelatory — which 
is  perhaps  the  reason  writers  often  seem 
so  mysterious,  and  why  we  all,  writers 
and  non-writers  alike,  are  so  curious 
about  their  process. 

For  this  issue,  we  grilled  some  insight- 
ful scribes  about  their  craft — particularly 
in  light  of  recent  industry  trends  and 
technological  innovations.  Elizabeth 
Angell  looks  into  the  adaptation  of  pop- 
ular books  into  screenplays — and  why 
independents's  choices  are  frequently 
different  from  those  of  the  studios  (page 
37).  Does  a  partner  make  writing  easier, 


or  more  complicated?  Contributing 
writer  Lisa  Selin  Davis  asked  a  few  savvy 
teams  to  dish  about  their  collaboration 
techniques  (page  29),  while  novelist  Jeff 
Bens  talked  to  writers  about  creating 
characters  for  the  screen — and  what  they 
can  learn  from  the  novel  (page  25).  David 
Aim  investigates  how  digital  technology 
(from  interactive  TV  to  Machinima)  is 
changing — perhaps  irreparably — our 
notions  about  how  a  story  should  be  told 
and  by  whom  (page  33). 

The  impact  of  broadband  and  the 
recent  onslaught  of  politically  funded 
documentaries  is  the  subject  of  the  new 
book,  Deep  Focus:  A  Report  on  the  Future 
of  Independent  Media — which  Matt 
Dunne,  the  Vermont  senator  who  found- 
ed the  Vermont  Film  Commission, 
reviews  (page  41). 

Also  in  this  issue,  contributing  writer 
Rick  Harrison  probes  writer-director  Ira 
Sachs  about  his  new  film  Forty  Shades  of 
Blue,  as  well  as  what  it  means  to  be  a  gay 
Jew  bumming  smokes  in  Memphis  (page 
17).  Freelance  writer  and  first-time  con- 
tributor to  The  Independent,  Nicole 
Davis,  sizes  up  New  York's  indie  theater 
scene  after  the  recent  and  controversial 
opening  of  the  IFC  Center  (page  20). 
And  South  African  filmmaker  Tim 
Greene  tells  the  story  of  making  his  fea- 
ture debut,  Boy  Called  Twist — a  unique 
interpretation  of  the  classic  Oliver 
Twist — which  had  the  longest  list  of  asso- 
ciate producer  credits  in  history  (page 
12).  Speaking  of  credits,  entertainment 
attorney  Fernando  Ramirez  explains  the 
terms  all  writers  should  understand  when 
negotiating  what  could  be  their  most 
important  career-determiner — their 
screenwriting  credits  (page  45). 

Finally,  I  want  to  thank  The 
Independents  editor-in-chief  Rebecca 
Carroll,  who  recently  (and  finally!)  gave 
birth  to  her  beautiful  son  Kofi,  for 
supporting  me  in  taking  the  reigns  for 
this  issue — it's  been  a  most  pleasurable 
challenge. 

Enjoy,  and  thanks  for  reading 

The  Independent, 

Shana  Liebman 


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October  2005  I  The  Independent  5 


DAVID  ALM  is  a  freelance  journalist, 
editor,  and  teacher.  He  has  a  master's 
degree  from  the  University  of  Chicago, 
where  he  studied  film  history  and  theory. 
He  has  published  widely  on  contemporary 
art,  film,  and  design  in  magazines  such  as 
American  Artist  Watercolor,  Artbyte, 
Camerawork,  RES,  Silicon  Alley  Reporter, 
Time  Out,  SOMA,  and  The  Utne  Reader. 
This  year  he  helped  Hillman  Curtis  write 
Creating  Short  Films  for  the  Web,  to  be  pub- 
lished in  the  fall  by  Peach  Pit  Press.  He  has 
also  taught  film  history  and  writing  at  the 
college  level  and  assisted  in  making  several 
short  and  documentary  films.  He  lives  in 
Brooklyn,  New  York. 

ELIZABETH  ANGELL  is  a  freelance 
writer  living  in  New  York.  She  recently 
received  an  MFA  in  creative  writing  from 
Columbia  and  is  at  work  on  her  first  book. 

JEFFREY  BENS  is  the  author  of  the 
novel,  Albert,  Himself.  He  teaches  at 
Manhattanville  College  and  with 
Mediabistro.com. 

LISA  SELIN  DAVIS  is  the  author  of  the 
novel,  Belly,  published  this  year  by  Little, 
Brown  &  Co.,  and  a  freelance  writer  in 
New  York. 

NICOLE  DAVIS  is  a  freelance  writer  in 
Brooklyn,  New  York. 

MATT  DUNNE  is  the  Democratic 
state  senator  of  Vermont  and  founder  of  the 
Vermont  Film  Commission.  Previously,  he 
served  two  and  a  half  years  as  National 
Director  of  AmeriCorps  VISTA  (Volunteers 
in  Service  to  America)  and  four  terms  as  a 
Vermont  state  representative. 

KATHERINE  DYKSTRA,  The 
Independents  associate  editor,  is  also  a  con- 
tributor at  The  New  York  Post  and  a  freelance 
writer  and  editor.  Her  work  has  appeared  in 
Time  Out  New  York,  Fodor's  travel  guides, 
Redbook,  and  Ironminds.com.  She  is  a 
recent    graduate    of  The    New    School 


University's  nonfiction  MFA  program. 
And  she  spends  Wednesday  afternoons 
teaching  creative  writing  to  the  coolest 
kids  in  Harlem. 

TIM  GREENE  started  directing  in 
1994  with  his  acclaimed  short  Corner 
Caffie,  followed  by  numerous  music 
videos  and  TV  shows  including  "Hard 
Copy"  and  "Tsha  Tsha" — the  ground 
breaking  series  on  love,  sex,  and  ballroom 
dancing.  His  first  feature  Boy  Called 
Twist,  the  story  of  a  Cape  Town  street 
kid,  based  on  Dickens'  classic  novel, 
Oliver  Twist,  screened  at  Cannes  and  will 
be  released  in  South  Africa  this  year. 

RICK  HARRISON  is  a  reporter  for 
The  Home  News  Tribune,  where  he  covers 
corruption  and  bad  hair  in  Central  New 
Jersey.  He  has  a  master's  degree  in 
journalism  from  NYU,  and  his  work  has 
appeared  in  The  Daily  News,  Newsday, 
and  The  Forward.  His  more  mindless 
musings  can  be  read  at  www.rolling 
bones.blogspot.com. 

FERNANDO  RAMIREZ,  ESQ.  is  an 
attorney  in  private  practice  in  New  York 
City,  where  he  lives  with  his  wife  and  12- 
year-old  son/aspiring  doc-maker.  He 
graduated  from  Fordham  University  and 
earned  his  law  degree  from  Brooklyn  Law 
School.  His  work  involves  transactional 
entertainment  law — he  drafts,  reviews, 
and  negotiates  industry  agreements,  and 
advises  independent  filmmakers,  execu- 
tive producers,  media  personalities,  and 
nonprofit  film  organizations. 

FERNANDA  ROSSI,  known  as  the 
Documentary  Doctor,  is  a  filmmaker  and 
story  consultant  who  helps  filmmakers 
craft  the  story  structure  of  their  films  in 
all  stages  of  the  filmmaking  process.  She 
has  doctored  over  100  documentaries 
and  fiction  scripts  and  is  the  author  of 
Trailer  Mechanics:  A  Guide  to  Making 
Your  Documentary  Fundraising  Trailer. 
www.documentarydoctor.com. 


LETTER  TO 
THE  EDITOR 


Dear  Editor, 

It's  ironic  that,  within  an  article 
["Room  for  Input,"  July/August 
2005]  mentioning  multiple  social 
issue  docs  at  this  year's  INPUT  con- 
ference, writer  Niall  McKay  doesn't 
once  mention  the  social  issue  that 
surrounded  the  event  itself — namely 
the  ongoing  San  Francisco  hotel  boy- 
cott and  labor  battle,  which  included 
the  Hilton  where  INPUT  was  based. 
Before  INPUT,  many  folks  like  us 
had  registered  and  made  travel  plans. 
As  the  event  approached,  we 
wondered  if  we  could,  in  good 
conscience,  violate  a  labor  boycott. 
INPUT'S  host,  ITVS,  went  to 
Herculean  lengths  to  resolve  the  issue 
and  to  move  parts  of  INPUT  out  of 
the  hotel.  In  the  end,  a  number  of  us 
did  not  go  to  INPUT  because  of  the 
boycott.  And  some  who  did  attend 
created  screenings  and  events  in  sup- 
port of  the  boycott.  Okay,  so  these 
real  life  crises  shouldn't  overwhelm 
articles  about  movies,  I  can  see  that. 
But  when  the  movies  in  the  article 
don't  shy  away  from  such  issues,  it 
seems  the  article  shouldn't  either,  par- 
ticularly given  the  great  magazine  in 
our  hands.  But  we  live  in  curious 
times,  when  things  like  crossing  a 
projectionists's  picket  line  are  judged 
mere  inconveniences  on  our  way  to 
seeing  the  new  arthouse  sensation. 

— Steven  Bognar,  Dayton,  Ohio 


CORRECTION 

In  the  September,  2005  "Tools"  section, 
we  incorrectly  stated  that  the  Rural  Route 
Film  Festival  petitioned  Kodak  to  continue 
its  Kodachrome  40  Super8  film  stock,  when 
it  was  actually  filmmaker  Josh  Watson  who 
launched  this  petition. 


6  The  Independent  I  October  2005 


BETTY  TENG,  filmmaker,  Brooklyn, 
New  York,  member  since  1995 

Betty  Teng's  screenplay  Maestro,  Maestro 
won  the  grand  prize  of  the  2004  American 
Zoetrope  Screenplay  Contest. 

DAVID  GAYNES,  filmmaker,  New 
York,  New  York,  member  since  2000 

David  Gaynes's  first  documentary  Keeper 
of  the  Kohn  won  the  Jury  Award  for  Best 
Documentary  at  the  Vail  International  Film 
Festival  as  well  as  the  Audience  Award  at 
the   Palm    Beach    International    Film 
Festival.     It  also  screened  at  many 
festivals  nationwide  and  will  be  pre- 
sented at  the  2005  IFP  Market.  The 
film   tells  the  story  of  74-year-old 
Peter  Kohn,  the  field  manager  for 
the   Middlebury   College   lacrosse 
team,  who  is  believed  to  be  autistic. 


WILL     PARRINELLO,     Mill 
Valley  Film  Group,  Mill  Valley, 
California,  member  since  1986 

Will  Parrinello's  documentary, 
Dreaming  of  Tibet,  screened  for  the 
Congressional  Human  Rights 
Caucus  in  July,  and  features  the 
stories  of  three  Tibetan  exiles.  It 
explores  the  tragedy  of  Tibet  while 
inspiring  hope  for  the  Tibetan 
cause.  The  film  is  being  syndicated 
to  PBS  stations  and  had  its  Los 
Angeles  premiere  on  KCET  in  August. 


received  the  Best  Documentary  Award  at  the 
Belgrade  International  Documentary  and 
Short  Film  Festival;  Best  Short  Documentary 
at  the  Florida  Film  Festival;  Special  Jury 
Award  at  the  Seattle  International  Film 
Festival;  and  the  Onda  Curta  Short  Film 
Award  at  IndieLisboa  in  Portugal.  It  was  in 


Members 

in  the  news 


MARK  DWORKIN,  filmmaker, 
Clinton,  Washington,  member  since  1978 

Partners  Melissa  Young  and  Mark 
Dworkin  received  a  Cine  Golden  Eagle  for 
the  feature  documentary  Argentina:  Hope  in 
Hard  Times.  The  film  premiered  at  the 
Seattle  Art  Museum  in  January  2005  and 
documents  the  inspiring,  grassroots  response 
to  a  recent  devastating  economic  collapse  in 
Argentina.  It  was  also  featured  in  the  San 
Diego  Latino  Film  Festival,  the  Boston 
International  Film  Festival,  the  Sin  Fronteras 
Festival  in  Albuquerque,  and  in  a  special 
screening  at  the  Carnegie  Council  for  Ethics 
in  International  Affairs  in  New  York. 

JAY  ROSENBLATT,  filmmaker,  San 
Francisco,  California,  member  for  over 
10  years 

Jay  Rosenblatts  new  film  Phantom  Limb 


the  Silver  Wolf  Competition  at  IDFA  and 
has  also  screened  at  the  Clermont-Ferrand 
Short  Film  Festival  in  France,  Tampere  Film 
Festival  in  Finland,  Visions  du  Reel  in 
Switzerland,  Tribeca  Film  Festival,  Full 
Frame  Documentary  Festival,  and 
Silverdocs.  His  previous  film  /  Used  to  Be  a 
Filmmaker  was  broadcast  along  with 
Hardwood  on  POV  in  August. 

DARIA  PRICE,  filmmaker,  New  York, 
NY,  member  since  2003 

Daria  Price's  short  film,  Survival  of  the 
Fittest,  won  the  Fusion  Audience  Award  for 
Shorts  at  DancesWithFilms  in  L.A.,  and  the 
Platinum  Remi  Award  for  Comedy  Short  at 
Worldfest-Houston  International  Film  Fest.  It 
screened  at  New  York  City's  Reel  Venus  Film 
Festival  in  July  and  the  Crested  Butte  Reel 
Fest  in  August.  It  is  a  satirical  mystery  about 
America's  obsession  with  youth  and  beauty  in 
an  age  when  the  greatest  sin  is  to  age. 


CAROL  STANGER,  Pearl  in  an  Oyster 
Productions,  New  York,  New  York, 
member  since  2003 

Carol  Stanger's  short  film,  Saying  "I 
Do, "  received  audience  awards  for  docu- 
mentary at  the  Long  Island  Gay  and 
Lesbian  Film  Festival,  as  well  as  at  the 
Connecticut  Gay  and  Lesbian  Film 
Festival.  Since  last  year,  the  film  has  been 
shown  at  the  Anthology  Film  Archives 
in  the  New  Filmmakers  Salute  Free 
Speech,  and  at  the  Cornell  Cinema. 
Saying  "I  Do, "  produced  by 
Stanger  and  directed  and  edited 
by  Jennifer  Uihlein,  tells  the 
story  of  two  lesbian  families, 
one  of  whom  won  a  lawsuit 
against  Massachusetts  for  the 
right  to  wed. 


MARILYN  HUNT, 
filmmaker,    Santa    Fe,    New 
Mexico,  member  since  2002 

Marilyn  Hunt's  documen- 
tary Dancing  from  the  Heart, 
about  a  Pueblo  family  dance 
troupe,  received  first  prize  in 
the  dance  and  music-related 
category  at  Toronto's  new 
ReelHeART  Film  Festival. 
The  film  was  also  a  "Back  by 
Popular  Demand"  pick  and 
official  selection  at  the  Santa 
Festival   where    it    had    two    of 


Fe  Film  hestival  where  it 
the  largest  audiences  of  the  festival.  It  also 
screened  at  Dance  on  Camera  at  New 
York's  Lincoln  Center  last  January,  and 
the  Eleventh  Video/Film  Fest  in  Hungary 
in  August. 

CYNTHIA  MCKEOWN,  director/ 
producer,  Boston,  Massachusetts,  member 
since  1995 

Cynthia  McKeown's  documentary,  One  in 
Eight:  Janice's  Journey,  the  story  of  one 
woman's  struggle  with  breast  cancer  and  her 
search  for  possible  causes,  will  be  broadcast 
on  the  Discovery  Health  Channel  on 
October  20  at  8  pm.  One  in  Eight,  distrib- 
uted by  Fanlight  Productions,  was  awarded 
the  Jury  Prize  for  Best  Documentary  at  the 
2004  New  England  Film  and  Video  Festival, 
and  has  screened  at  many  festivals  through- 
out the  US  and  Canada.  For  more  info, 
please  visit  www.oneineight.net.  "& 


October  2005  I  The  Independent    7 


NEWS.  . 

Film  Fest  Fisticuffs 

Michael  Moore's  festival  inspires  serious  competition 


By  Katherine  Dykstra 

Both  Tracy  Kurtz,  the  spokeswoman 
for  the  Traverse  City  Film  Festival, 
and  Jim  Hubbard,  the  founder  and 
president  of  the  American  Film 
Renaissance,  which  helped  to  put  on  the 
Traverse  Bay  Freedom  Film  Fest,  agree 
that  neither  of  their  respective  events  had 
anything  to  do  with  politics. 

"It's  not  about  the  politics;  it's  about  the 
movies,"  says  Kurtz.  "Our  tagline  was  'Just 
Great  Movies'" 

While  Hubbard,  who's  film  festival  is 
taglined  "Celebrate  Faith,  Family  and 
Freedom,"  says,  "We  show  films  that  con- 
servatives would  gravitate  to  more,  but 
we're  not  political." 

Funny,  because  the  whole  thing  just 
sounds  so,  well,  political.  How  did  it  hap- 
pen then  that  two  film  festivals,  headed  by 
people  in  opposing  political  parties, 
descended  on  the  same  tiny  Michigan  city, 
over  the  exact  same  weekend  in  July? 

The  way  Kurtz  tells  it,  the  Traverse  City 
Film  Festival  began  with  three  men: 
Michael  Moore,  Doug  Stanton,  the 
author  of  In  Harm's  Way,  about  the  sinking 
of  the  USS  Indianapolis,  and  John  Robert 
Williams,  a  Traverse  City  photographer 
who  had  worked  with  Moore  on  the 
posters  for  his  2002  film,  Bowling  for 
Columbine.  One  evening  in  May,  the  three 
men  were  sitting  around  lamenting  the 
current  state  of  American  film  consump- 
tion, specifically  the  frequent  shelving  of 
brilliant  independent  films,  which  the 
men   believe   is   due   in    most   part   to 


American  Film  Renaissance  supporters  Dave  Balsiger  (George  Bush:  Faith 
in  the  White  House)  and  Peace  Commies's  Jorge  Torres  [photo  courtesy  AFR] 


"Hollywood  politics."  So  they  decided  to 
do  something  about  it,  giving  themselves 
eight  weeks  to  put  together  a  film  festival. 

"We  sought  to  reclaim  the  magic  and 
hoped  that  the  public  would  respond  with 
enthusiasm,"  says  Kurtz.  "Our  goal  was  to 
have  the  people  leave  the  theater  feeling  as 
if  they'd  just  seen  something  special." 

For  three  weeks,  Moore  and  company 
were  the  only  festival  on  the  scene.  Until 
Genie  Aldrich,  a  local  conservative 
activist,  got  wind  of  their  plan. 

"In  the  second  week  of  June,  I  went  to 
a  city  counsel  meeting.  The  city  notified 
that  Michael  Moore  would  be  granted  a 
permit  to  use  tax-payer  space  for  part  of 
his  film  festival,"  says  Aldrich.  "But  this 
town  is  festivaled  out,  it's  packed  all  sum- 
mer, we're  limited  in  traffic,  police..." 

Aldrich's  answer?  Another  film  festival. 

"So  I  went  home  that  night  and  had  the 
wherewithal  to  challenge  him,"  says 
Aldrich.  "Film  festivals  are  great  unless 
Michael  Moore  is  running  them.  I  had  to 
advise  him  that  he  is  not  welcome  here, 
there  is  no  fan  club  for  him  here." 


And  so  Aldrich  and  co-founder  Cheryl 
Rhoads — who  is  an  actress  and  writer  in 
Hollywood,  and  whose  family  lives  in 
Traverse  City — enlisted  the  services  of  the 
Texas-based  American  Film  Renaissance 
to  put  on  their  own  right-leaning  film  fes- 
tival, which  they  planned  for  the  same 
weekend  as  Moore's. 

"We  wanted  to  cater  to  people  who  feel 
left  out.  Conservatives  are  not  plugged 
into  pop  culture,  mostly  because  they 
don't  feel  Hollywood  shares  their  values," 
says  Hubbard.  "But  I  think,  rather  than 
boycotting  a  film,  say  if  you  didn't  like 
Fahrenheit  9/11,  go  pick  up  a  camera  and 
make  your  own  film."  A  noble  statement, 
but  one  that  weakens  as  soon  as  Aldrich 
spews  forth  a  stream  of  "America-hating 
extremist  Michael  Moore"  speak,  which 
makes  the  mission  sound  a  lot  more  like 
payback. 

When  asked  about  the  competition 
between  the  two  fests,  Kurtz  says,  "I  think 
everyone  knew  [The  Freedom  Festival] 
was  being  held,  but  no  one  allowed  it  to 
become  any  kind  of  focus.  We  remained 


8  The  Independent  I  October  2005 


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dedicated  and  enthusiastic  about  what  we 
were  doing,  we  were  not  going  to  let  any- 
thing divide  us." 

Although  they  were  never  divided,  it's 
pretty  clear  that  they  were  offended. 

"I  know  that  some  of  the  blanket  state- 
ments that  came  out  were  that  the  people 
working  on  this  were  left-wing  extremist 
liberals,  anti-American,  anti-Christian, 
anti-family  But  we  maintained  our  sense 
of  humor,"  says  Kurtz.  "I  mean,  I'm  a  stay- 
at-home  mom  with  two  kids.  How's  that 


Enthusiastic  festival  attendees 
[photo  courtesy  AFR] 


for  family  values?  If  I'm  so  anti-family, 
why  do  I  have  these  stretch  marks?" 

Both  camps,  of  course,  claim  resound- 
ing success — and  they're  probably  both 
relatively  right — but  the  numbers  speak 
more  for  Moore. 

Fifty  thousand  (note  that  Traverse 
City's  population  is  a  mere  20,000) 
showed  up  to  watch  the  Traverse  City  Film 
Festival's  31  films,  which  included  Mad 
Hot  Ballroom,  the  festival  opener,  Me  and 
You  and  Everyone  We  Know,  Enron:  The 
Smartest  Guys  in  the  Room,  and  The  Baxter. 
The  films  screened  for  $7  in  one  of  three 
theaters — one  of  which,  the  historic 
downtown  State  Theater,  was  specially  res- 
urrected for  this  event.  With  500  volun- 
teers, $100,000  in  local  sponsorship,  (the 
only  non-local  sponsor  was  Ben  and 
Jerry),  the  festival  cost  a  quarter  of  a  mil- 
lion dollars. 

The  Traverse  Bay  Freedom  Film  Fest, 
on  the  other  hand,  hosted  1 ,000  people  at 
ten  screenings,  5  of  which  were  independ- 
ent, including  Michael  Moore  Hates 
America,  In  the  Face  of  Evil:  Reagan's  War 


in  Word  and  Deed  and  Charlottes  Web. 
They  had  "volunteers  coming  out  of  our 
ears,"  and  all  the  screenings  were  free. 

All  in  all,  despite  the  time  restraints, 
both  events  came  off  without  a  hitch — 
except  for  one  small  problem  in  the  pro- 
jection room  of  the  Traverse  Bay  Freedom 
Film  Fest  that  occurred  during  the  screen- 
ing of  Michael  Moore  Hates  America. 

"We  were  supposed  to  have  the  family 
version,  but  the  film  was  ridden  with  the 
f-word,"  says  Aldrich.  "About  20  minutes 
into  the  film  I  was  thinking,  you  know, 
this  is  exactly  why  we  had  this  film  festival 
to  tone  down  the  smut  and  sewage  that 
comes  out  of  Hollywood.  So  I  went  up  to 
the  podium  and  put  a  stop  to  the  video. 
This  is  what  we  do  not  have  in  the 
Heartland  way  of  life." 

The  Innovators 

There's  a  reason  that  sequels,  remakes, 
and  films  that  start  off  as  books  have  an 
easier  time  scoring  distribution  deals  than 
movies  with  original  screenplays — the  for- 
mer come  with  built-in  audiences,  one 
major  indicator  of  a  money-maker.  The 
same  concept  works  for  movies  made  by 
name  filmmakers,  staring  bankable  actors, 
or  written  by  well-known  screenwriters. 
Fans  equal  instant  audience.  So  what's  a 
little  original  film  sans  an  audience  to  do? 
Get  one,  of  course. 

Which  is  exactly  what  the  creators  of 
Ten  'Til  Noon,  an  independent  arthouse 
thriller,  did. 

Ten  'Til  Noon  begins  with  the  last  ten 
minutes  of  one  man's  life,  which  occurs 
after  he  has  woken  up  to  find  himself  in 
the  company  of  two  strangers.  From  there, 
we  witness  those  same  ten  minutes  shown 
from  the  points-of-view  of  nine  other 
characters,  each  shedding  more  light  on 
the  original  scene. 

In  November  2004,  Paul  Osborne,  who 
wrote  Ten  'Til  Noons  screenplay,  put  a 
mini-trailer  online.  As  he  monitored  inter- 
est over  the  following  months,  he  had  an 
idea.  "I  saw  what  the  trailer  could  do  and 
remembered  what  I  was  taught  in  film 
school  marketing  class,"  he  says.  "Which 
is  that  when  you  go  to  the  distributor,  you 
want  to  let  them  know  who  already  knows 
about  your  film,  and  therefore  how  much 
work  the  distributor  has  left  to  do  to  get  it 
out  there." 


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October  2005  I  The  Independent  9 


3rd  ANNUAL  TRENTON  FILM  FESTIVAL 

CALL  FOR  ENTRIES 

The  Trenton  Film  Festival  asks  filmmakers  from  around  the  world  to 
submit  films  for  the  3rd  Annual  Trenton  Film  Festival,  May  5  -  May  7, 
2006,  in  New  Jersey's  capital  city    Over  ninety  films  were  screened  last 
year  at  our  multi-venue,  three-day  event.  Win  cash  prizes  and  the 

Categories: 

♦  Narrative  Feature 

♦  Narrative  Short 

♦  Documentary  Feature 

♦  Documentary  Short 

♦  Foreign  Feature 

♦  Foreign  Short 

♦  Experimental 

♦  Animation 

♦  Family  Short 

"Ernie"  l-Beam  trophy.  Filmmakers  can  submit  via  Withoutabox  or  with 
a  pdf  submission  form  available  at  www.TRENTONFILNIFESTIVAL.org. 

ALL  ENTRIES  MUST  BE  POSTMARKED  BY  FEBRUARY  1 ,  2006 

Submission  Fees:  $45  Feature,  $35  Short:  $25  Student  Disc.  (w/ID) 

Submit  Form  &  check  to: 

Trenton  Film  Festival  Submissions,  PO  Box  22430,  Trenton,  NJ  08607 

For  info,  visit  www.TrentonFilmFestival.orq  or  call  609-396-6966 

POINT       OF       CONTACT       PRESENTS 

SYRACUSE  INTERNATIONAL 
FILM  &  VIDEO  FESTIVAL 


Every  entry  will  be  pre-screened  in  its  entirety.  All  genres.  All  lengths.  Cash  awards. 
Post-festival  publication  with  critical  reviews.  International  jury. 

Submissions  accepted  through  December  10,  2005 

For  more  information,  and  to  fill  out  an  entry  form,  visit:  WWW.Syrfilmfest.com 

The  Syracuse  International  Film  &  Video  Festival  is  a  member  ot  www.withoutabox.com 


Ten  Til  Noon's  Paul  Osborne  (above)  and 
Scott  Storm  (right)  [photo  courtesy  of  Osborne] 

With  that  in  mind,  Osborne  launched 
an  aggressive  online  grassroots  campaign 
to  cull  an  audience  and  garner  distributor 
interest.  He  shopped  the  trailer  to  a  slew 
of  major  film  websites  in  the  hopes  that 
they  might  pick  it  up.  And  pick  it  up  they 
did.  Movie.com,  Movielist.com,  and 
Comingsoon.net  were  the  first  of  more 
than  40  websites  to  carry  the  Ten  'Til 
Noon  trailer.  This  generated  buzz,  draw- 
ing tons  of  curious  internet  surfers  to  the 
linchpin  of  his  efforts,  www.tentil 
noon.com,  the  often-updated  website, 
which  began  simply,  with  the  trailer  and  a 
behind-the-scenes  link. 

"We  got  over  2,000  hits  our  first  day;  it 
was  startling,"  says  Osborne.  "At  that 
point  we  realized  we  could  play  directly  to 
our  audience;  we  could  build  name- 
value." 

When  he  says  audience,  Osborne 
imagines  a  sea  of  upscale  arthouse  enthu- 
siasts, the  same  group  who  went  gaga  over 
Christopher  Nolans  Memento  (2000). 

Since  February,  when  the  behind-the- 
scenes  link  went  live,  the  site's  content  has 
spiraled:  Scott  Storm,  the  director,  added 
a  diary  to  which  both  he  and  Osborne 
contribute,  the  trailer  has  been  updated 
and  revised  twice,  and  they've  begun  to 
run  a  series  of  mock-blogs.  "In  Scott's 
blog,  he  goes  to  meet  studio  execs  wearing 
medieval  gear  and  with  knifes  and  what 
not,"  says  Osborne.  "In  another,  the  pro- 
ducer dresses  up  as  a  Girl  Scout  to  find 
money."  There's  also  a  buzz  page  that  lists 
every  site  that  links  to  Ten  'Til  Noon. 

So,  is  it  working?  Well,  the  film,  in  post 
at  the  time  of  this  magazine's  publication, 
can  only  be  shopped  once  it's  finished. 


10  The  Independent  I  October  2005 


But  it  looks  like  finding  a  distributor  is 
going  to  be  exponentially  easier  for  these 
forward-thinkers. 

According  to  Osborne,  the  website  gets 
1 ,000-plus  hits  every  day,  200  of  which  are 
for  the  trailer.  And  the  hits  spike  every 
time  one  of  the  blogs  is  updated.  The  site 
is  also  capable  of  tracking  which  files  are 
downloaded  and  from  where,  enabling 
Osborne  to  show  potential  distributors  the 
growth  of  the  audience.  But  so  far,  the  dis- 
tributors have  been  coming  to  him. 

"We've  already  been  contacted  by  four 
or  five  reps  and  20-plus  distributors,"  says 
Osborne.  "I'd  say  the  majority  of  compa- 
nies interested  found  us  online." 

The  new  leader  of  the  NBPC 

After  25  years  at  the  helm,  Mable 
Haddock  is  stepping  down  from  her  post 
as  executive  director  of  the  National  Black 
Programming  Consortium,  and  Jacquie 
Jones,  a  Peabody  Award-winning  producer 
and  public  television  administrator,  is  tak- 
ing over. 

Jones  was  the  director  of  the  KwaMashu 
Film  Festival  in  Durban,  South  Africa,  and 
she  served  as  executive  director  for  ROJA 
productions  where  she  supervised  TV 
series  including  Matters  of  Race.  She  is  also 
a  filmmaker — recent  projects  include  a 
short  doc  about  female  rappers,  Freestyle, 
and  a  work-in-progress  about  black 
women  and  breast  cancer. 

Although  she  is  concerned  with  the 
Bush  administration's  threats  to  cut  fund- 
ing for  public  broadcasting,  she  is  encour- 
aged by  "a  tremendous  revolution  in  access 
to  the  means  of  production  through  new 
digital  tools  that  make  it  possible  to  realize 


an  independent  vision  for  literally  hun- 
dredths of  what  it  cost  just  a  decade  ago." 
As  the  NBPC's  new  leader,  she  plans  "to 
continue,  even  in  these  embattled  times,  to 
ensure  that  our  public  media  remains  rich 
with  African  American  voices,  that  NBPC 
can  continue  to  be  a  resource  and  a  home 
to  independent  filmmakers,  and  that  we 
can  provide  you  with  even  more  services  to 
the  field." 

MoMA  salutes  Jerome  Hill 

Jerome  Hill  wasn't  only  a  filmmaker, 
photographer,  painter,  and  composer,  he 
was  and  still  is  the  reason  many  important 
films  have  been  made  at  all. 

Hill,  who  was  born  in  Minnesota,  dis- 
covered film  in  France  and  settled  in  New 
York,  created  the  Avon  Foundation  (later 
the  Jerome  Foundation)  in  1964,  to  sup- 
port emerging  filmmakers,  among  them 
Spike  Lee,  Todd  Haynes,  and  Mira  Nair. 

"The  Foundation  has  supported  films 
that  other  founders  wouldn't  dream  of 
supporting  because  they're  experimental  or 
because  of  controversy,"  says  Robert  Byrd, 
senior  program  officer  at  the  Jerome 
Foundation.  "But  we're  not  afraid  of  con- 
troversy, we  invite  it,  we  welcome  it,  we 
embrace  it,  we  think  it  motivates  people  to 
think  critically." 

Beginning  October  24,  The  Museum  of 
Modern  Art  in  New  York,  in  conjunction 
with  The  Jerome  Foundation,  will  honor 
the  centennial  of  Hill's  birth  by  showing 
many  of  the  works  made  possibly  by  his 
support,  as  well  as  two  of  Hill's  own  major 
works:  the  documentary  Albert  Schweitzer 
(1957)  and  Film  Portrait  (197 '2),  an  exper- 
imental contemplation  on  his  own  life. 

Also  this  month,  MoMA  will  exhibit 
work  by  Michael  Snow,  one  of  the  preem- 
inent experimental  filmmakers  working  in 
the  1950s  through  today,  and  Sam  Taylor- 
Wood,  a  young  British  filmmaker  who  has 
never  been  shown  in  North  America  until 
now.  Both  filmmakers  share  an  affinity  for 
stillness:  Snow's  WVLNT  (Wavelength  for 
those  who  don't  have  the  time)  (2003),  and 
Solar  Breath  (Northern  Caryatids)  (2002) 
are  contemplative  and  quiet.  Just  as  are  the 
three  works  by  Taylor- Wood,  which 
include,  Beckham,  a  portrait  of  a  sleeping 
figure,  and  Still  Life,  a  bowl  of  fruit  slowly 
decaying  before  the  camera. 

See  www.moma.org  for  more  info  'A 


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October  2005  I  The  Independent     11 


.■OUCTION    JOURNAL 


Boy  Called 


Twist 


A  South  African  fairy  tale  with  1,000  investors 


By  Tim  Greene,  writer/director/producer 


T, 


hey  say  necessity  breeds  invention,  and  so  it  was  with  my  debut  feature  film, 
Boy  Called  Twist. 

Based  on  the  classic  Dickens  novel,  Oliver  Twist,  the  film  tells  the  story  of  a  street- 
kids  search  for  love  in  contemporary  Cape  Town,  South  Africa.  Shot  on  Super  16mm, 
completed  for  $500,000,  and  screened  at  Cannes,  Twist  was  released  in  South  Africa 
in  September  2004 — with  the  longest  list  of  associate  producer  credits  in  history. 

Although  the  South  African  film  industry  has  been  teetering  on  the  brink  of  emer- 
gence for  as  long  as  I  can  remember,  finding  finance  for  a  first  feature  film  shot  there 


12  The  Independer     :  October  2005 


Kim  Engelbrecht  in  Boy  Called  Twist  [photo  courtesy  Tim  Greene] 


is  still  next  to  impossible  for  an  inde- 
pendent director.  At  the  time,  I'd  made  a 
drama  series  for  television,  several  shorts, 
commercials,  and  a  few  music  videos, 
but  the  odds  of  raising  my  initial 
$150,000  budgeted  to  shoot  the  film 
seemed  as  remote  as  ever.  If  I  was  going 
to  lose  my  long-form  virginity,  I  would 
have  to  think  outside  the  box. 

The  notion  of  approaching  a  large 
group  of  people  to  each  invest  a  small 
amount  of  money  into  a  film  had  been 
brewing  in  my  mind  for  many  years,  but 
it  was  only  when  I  decided  to  adapt 
Oliver  Twist  that  I  realized  I  had  the  per- 
fect project  to  put  my  plan  into  action. 
The  film  is  based  on  a  known  work,  and 
it  deals  with  the  social  phenomenon  of 
homeless  children — both  of  which  made 
it  the  perfect  vehicle  for  an  unknown 
filmmaker  with  an  unknown  cast  and  a 
first  time  producer  to  get  support  from  a 
wide  range  of  well-wishers. 

First,  I  got  friends  and  family  to  pledge 
their  support.  The  deal  was  this:  If  they 
signed,  they  agreed  to  put  up  R1000  (US 
$150)  if,  and  only  if,  I  managed  to  get 
another  999  other  pledges.  Once  I'd  hit 
on  everyone  I  knew,  I  extended  my  search 
to  people  in  the  local  film  industry,  most 
of  whom  are  keen  to  see  locally  financed 
films  being  produced. 

By  the  time  I  reached  200  pledges,  the 
website  was  up  (www.twistmovie.co.za) 
where  the  wider  public  could  visit  and 
pledge  their  support — still  subject  to  the 
proviso  that  no  one  would  part  with  a 
cent  unless  1 ,000  pledges  were  found.  It 


took  about  a  year  for  the  "Honor  Roll"  or 
names  to  reach  1,000.  In  that  time  I  did 
newspaper  and  radio  publicity,  and  sent 
periodic  emails  to  the  growing  list  of 
soon-to-be  investors,  updating  them 
with  our  pledge  status.  When  it  came 
time  to  turn  warm  sentiment  into  cold 
cash,  about  80  percent  of  those  who 
pledged  paid  up.  We'd  anticipated  some 
fall  off,  however,  so  replacing  the  200- 
odd  defaulters  wasn't  too  difficult. 

As  cash  started  to  come  in,  my  pro- 
duction company,  Twisted  Pictures,  part- 
nered with  Monkey  Films,  a  top-of-the- 
range  local  production  house  that  does  a 
lot  of  commercial  work.  (We  gave  them 
shares  of  our  company  in  return  for  their 
infrastructure,  contacts,  skills,  and  the 
many  years  of  goodwill  they'd  accumu- 
lated in  the  industry.)  I'd  also  done  a  lot 
of  research  into  finding  the  right  business 
model  for  the  project  and  had  realized 
that  the  only  framework  that  would 
legally  accommodate  such  a  wide  invest- 
ment base  was  a  public  company — 
which  in  South  Africa  must  have  a  board 
of  directors,  be  audited,  hold  annual 
AGMs,  and  publish  financials  in  the 
public  domain.  Not  the  ideal  mechanism 
for  a  low-budget  indie  feature. 

My  board  refused  point-blank  to  start 
signing  checks  until  all  the  money  had 
been  banked,  which  was  just  one  of  the 
many  checks-and-balances  that  the  pub- 
lic company  structure  imposes — at  first 
to  my  chagrin,  but  increasingly  to  my 
delight.  It's  tempting  to  cut  corners  when 
a  project  swings  into  production,  but  the 


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October  2005  I  The  Independent  13 


Bart  Fouche  as  Sykes  in  Boy  Called  Twist  [photo  courtesy  Tim  Greene] 


pressure  of  pleasing  1,000  investors 
meant  that  we  had  to  account  for  every 
cent.  Looking  back,  I  wouldn't  have 
had  it  any  other  way — even  though  it 
meant  that  I  had  to  personally  bankroll 
the  months  between  fund-raising  and 
fund-spending. 

Over  the  past  decade,  Cape  Town 
has  become  a  sought-after  destination 
for  commercials,  which  means  that 
although  we  don't  have  much  of  an 
independent  film  industry,  we  do  have 
skilled  and  professional  crews,  and  a 
good  support  infrastructure.  Also,  since 
the  winter  season  is  wet,  a  lot  of  gear 
sits  on  the  shelves  for  months,  so  it's 
possible  to  get  off-season  discounts.  On 
top  of  that,  top-notch  technical  and 
creative  crew  are  as  keen  as  everybody 
else  to  see  the  industry  blossom  and  are 
very  generous  with  their  time  if  the 
right  project  comes  along. 

The  actual  shoot  took  21  days,  and 
we  were  constantly  at  the  mercy  of  the 
weather  and  the  zillion  other  factors 
that  make  independent  movie-making 
such  a  thrilling  and  terrifying  experi- 


Film/Video 

Bachelor  of  Fine  Arts 


•  Digital  Video  •  16mm  Film  •  Lighting/Set  Design 

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Please  send  me  a  Five  Towns  College  Catalog 


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Address 

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I    1 1  ndcrgraduate    □  Graduate 


14  The  Independent  I  October  2005 


ence.  After  shooting,  we  managed  to 
squeeze  an  offline  edit  out  of  the  pro- 
duction budget,  and  by  the  new  year, 
we  had  an  Avid  offline,  and  no  more 
money. 

Fortunately  the  South  African 
National  Film  and  Video  Foundation 
had  recently  started  a  government 
mandate  to  build  up  the  local  industry. 
They  agreed  to  contribute 
$150,000.00 — which  wasn't  exactly  a 
grant  or  a  loan;  they  wanted  their 
money  back  if  the  film  earned  it,  but 
there  was  no  penalty  if  it  didn't.  A  cou- 
ple of  wealthy  philanthropist  investors 
and  a  few  cultural  grants  later,  we  had 
the  money  to  finish  a  35mm  print. 

It's  rare  for  local  productions  in 
South  Africa  to  recoup  even  their  P&A 
costs  at  the  local  box  office.  The  TV, 
rental,  and  through-sales  ancillaries  are 
held  by  the  local  distributor  as  collater- 
al against  P&A  exposure.  The  weak- 
ness of  the  local  box  office  means  that 
South  African  films  bank  on  the  inter- 
national market  for  financial  success 
— and  therein  lies  a  major  problem. 
Producing  local  films  with  two  eyes  on 
potential  international  sales  has,  thus 
far,  given  rise  to  some  pretty  watered- 
down,  homogenized  movies — many  of 
which  star  foreign  actors  in  South 
African  roles.  And  these  don't  play  well 
at  home  or  abroad. 

But  Boy  Called  Twist  is  not  one  of 
those  films:  It's  visceral  and  honest  and 
full  of  local  color  and  texture.  At  the 
Cape  Town  World  Cinema  Festival 
premiere  in  November  2004,  the  film 
got  a  standing  ovation  from  a  very  par- 
tisan, first-night  audience,  which 
included  about  500  of  our  investors. 
The  film  has  since  played  at  Cannes 
and  has  been  invited  to  several 
European  festivals.  Twist  has  also  had  a 
very  warm  public  response  in  South 
Africa,  and  the  distributor's  test  audi- 
ence rated  the  film  eight  out  of  10, 
which  is  heartening.  Of  course  the 
question  remains:  Will  this  success 
translate  into  our  1,000  investors  ever 
getting  their  money  back?  Only  time 
will  tell.    *& 

For  more  information  on  Boy  Called 
Twist,  check  out  www.twistmovie.co.za. 


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call  for  entries 

for  AIVF  members:  Oct.  1-26,  2005 


Go  to  www.aivf.org  for  complete  details  and  entry  forms 

Winner  announced  in  the  January  2006  issue  of  THE  INDEPENDENT  with  details  on  upcoming  entries 


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PROFILE 


The  Many  Shad 
of  Ira  Sachs 

A  writer/director  as  colorful  as  his  characters 


By  Rick  Harrison 


I  ra  Sachs  won't  let  me  watch  him 
bum  cigarettes. 

We've  spoken  for  hours — about  what 
it  was  like  to  grow  up  gay  and  Jewish  in 
Memphis,  the  benefits  of  15  years  with 
the  same  therapist,  and  how  it  feels  to 
have  his  68-year-old  father  date  20-year- 
old  women. 

Sachs,  eager  for  a  smoke  before  noon, 
also  shamelessly  volunteers  that  although 
he  bums  five  or  six  cigarettes  a  day,  he 
won't  succumb  to  the  temptation  to  buy 
a  pack.  And  no,  he  doesn't  consider  this 


habit  to  be  bad  karma.  "I  get  good  inter- 
actions," he  says,  noting  that  when 
people  say  no,  it  provides  helpful  nega- 
tive reinforcement. 

But  just  as  I'm  ready  to  watch  him 
carefully  select  the  right  benefactor  out- 
side of  his  lower  Manhattan  office,  he 
politely  shoos  me  away. 

"It's  personal,"  he  says.  "It's  like 
masturbation." 

Filmmaking,  however,  is  decidedly  col- 
laborative, even  for  a  writer-director  like 
Sachs. 

With  Forty  Shades  of  Blue,  which  won 
the  Grand  Jury  Prize  at  Sundance  this 


year  and  will  see  a  limited  US  release  this 
month,  Sachs  formed  the  original  idea  in 
solitude  but  then  gathered  an  army  to 
execute  it.  His  army  fought  some  internal 
battles  along  the  way  and  even  broke 
apart  in  one  instance,  but  as  Secretary  of 
Defense  Donald  H.  Rumsfeld  has  said, 
you  go  to  war  with  the  army  you've  got, 
not  the  army  you  wish  you  had.  And 
Sachs  came  through  with  an  artistic 
victory. 

Forty  Shades  of  Blue  tells  the  story  of 
Laura,  a  Russian  woman  played  by  Dina 
Korzun,  who  has  married  and  had  a  child 
with  Alan,  an  older  man  and  legendary 


October  2005  I  The  Independent     17 


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the  return  of  Alan's  petulant,  married  son 
(Darren  E.  Burrows),  Laura  grapples  with 
the  realization  that  her  life  has  drifted 
into  a  rhythm  that  she  can't  really  dance 
to.  Alan  can  be  charming,  sentimental 
and  tender.  Or  boorish,  insensitive  and 
unfaithful.  Her  life  is  comfortable,  but 
her  spirit  is  restless. 

Sachs  always  wanted  to  make  a  movie 
about  a  character  who  is  familiar  yet 
rarely  the  focus  in  most  mainstream 
films.  "I  wanted  to  look  at  a  woman 
who's  usually  on  the  periphery,  in  the 
shadow  of  a  powerful  masculine  man," 
Sachs  says,  his  tightly-trimmed  beard  and 
gold-rimmed  glasses  revealing  an  easy, 
brainy  power  of  his  own.  "Turn  the  cam- 
era on  her  and  ask  who  she  is.  Let's  just 
follow  her;  forget  Dustin  Hoffman  [in 
1978's  Straight  Time,  for  instance] — let's 
follow  Theresa  Russell." 


Rohatyn  became  prickly — more  Sid  and 
Nancy  than  Ron  and  Nancy  (without  the 
heroin  and  knives,  of  course)  during  the 
seven  years  of  re-writes  and  attempts  to 
secure  financing. 

"Any  director  who  continues  to  work 
has  to  learn  that's  part  of  the  job,"  Sachs 
says,  speaking  of  skirmishes  with  med- 
dling financers.  "Ultimately,  if  you  make 
a  compromise,  that's  a  disservice — you 
haven't  been  a  good  director,  haven't  nav- 
igated the  waters  well.  Having  control 
and  facilitating  control  is  what  directing 
is.  I  got  to  make  exactly  the  kind  of  film 
I  wanted  to  make." 

But  when  asked  about  his  current  rela- 
tionship with  Rohatyn,  Sachs  flashes  a 
nervous  grin  and  plays  the  "if-I-don't- 
have-something-nice-to-say-I-won't-say- 
anything-at-all"  card. 

"As  a  collaborator,  I  sort  of  felt  I  was 


Rip  Torn  celebrates  in  Forty  Shades  of  Blue  [photo  courtesy  of  First  Look  Pictures] 


Sachs  also  chose  to  set  his  story  in 
Memphis,  the  city  of  his  youth  and  loca- 
tion of  his  first  feature  film,  The  Delta 
(1996).  But  most  of  the  writing  for  Forty 
Shades  fell  to  friend  and  co-collaborator 
Michael  Rohatyn — a  first  time  screen- 
writer and  musician  who  scored  the 
music  for  The  Delta  ,  as  well  as  for 
Rebecca  Miller's  films  Angela  (1995), 
Personal  Velocity  (2002),  and  The  Ballad 
of  Jack  and  Rose  (2005). 

The  relationship  between  Sachs  and 


writing  it  for  him,  but  not  so  much  with 
him,"  Rohatyn  says  of  Sachs.  "He  would 
carefully  read  it  and  give  his  notes  on  it, 
and  we  would  argue  those  notes.  Then 
whenever  he  would  leave,  I  would  let  him 
do  what  he  wants." 

But  there  was  no  denying  Sachs's  film 
knowledge  and  talent.  "Ira  taught  me 
about  movies,"  Rohatyn  says.  "He  has 
incredible  taste  and  is  really  the  most 
sophisticated  cineaste  that  I've  ever  met. 
He  would  send  me  to  look  at  movies  by 


18  The  Independent  I  October  2005 


Ira  Sachs  (right)  on  set  with  Darren  Burrows  [photo  by  Jawal  Nga] 


these  directors,  like  Maurice  Pialat, 
which  was  like  listening  to  The  Beatles 
for  the  first  time.  And  then  to  try  to  write 
a  movie  like  that  — Forty  Shades  of  Blue 
winds  up  being  something  I'm  very 
proud  of  and  a  great  tribute  to  Ira." 

Tellingly,  Ira  rarely  refers  to  Forty 
Shades  as  "my  film,"  which  shines  a  light 
on  some  behind-the-scenes  bruised  ego 
hubbub.  But  the  film  obviously  has  roots 
in  Sachs  and  in  Memphis.  Sachs  was  born 
in  Memphis  in  1965  to  Ira  and  Diane 
Sachs.  His  mother,  a  sociology  professor 
at  Rhodes  College,  divorced  his  father 
when  Ira  was  three,  then  took  Ira  and  his 
two  older  sisters  on  long  trips  to  Europe, 
spending  weeks  at  a  time  in  England  or  a 
farm  in  France. 

But  it  was  his  father  who  perhaps 
made  the  biggest  impression  on  him,  at 
least  as  far  as  Forty  Shades  of  Blue  is  con- 
cerned. "My  father  is  a  real  original," 
Sachs  says.  "One  of  the  most  original 
people  I've  ever  known.  He  has  very  little 
superego;  no  shame  or  guilt.  Luckily  he's 
not  a  psychopath."  Sachs  smirks.  When 
people  ask  Sachs's  father  what  church  he 
belongs  to,  his  father  responds,  "The 
Church  of  What's  Happening  Now, 
Baby." 

The  elder  Ira  has  seven  children 
between  the  ages  of  8  and  43,  from  lour 
different  women,  three  of  whom  he  mar- 
ried. But  Sachs  wants  to  set  the  record 
straight.  "My  father  is  a  sweetheart — he 
has  no  temper,  and  he's  very  generous," 


he  says.  "The  character  in  the  film  is  not 
my  father." 

Which  isn't  to  say  his  father  isn't  a 
character.  "I've  always  marched  to  the 
beat  of  a  different  drum,"  Ira  Sachs,  Sr. 
says  from  his  home  in  Park  City,  Utah 
where  he  housed  1 1  of  Ira's  cast  and  crew 
during  Sundance.  "Perhaps  it  was  some 
inspiration  for  Ira  to  do  the  same." 

Perhaps,  although  his  son,  out  of  the 
closet  since  he  was  16,  has  been  through 
his  own  share  of  formative  experiences. 
Growing  up  and  especially  as  president 
of  his  temple  youth  group,  Sachs  says 
that  he  experienced  more  anti-Semitism 
than  homophobia.  While  attending  an 
inner-city  high  school,  "boys  would 
throw  pennies  at  you." 

He  tells  such  stories  with  a  wry, 
unfazed  smile,  which  is  probably  the 
result  of  15  years  in  therapy.  "I  believe  in 
the  talking  cure,"  he  says.  "For  me, 
it's  very  much  a  part  of  my  creative 
development — understanding  human 
interaction.  Good  therapy  helps  you 
understand  people  better,  and  bad  thera- 
py makes  you  feel  you  are  more  impor- 
tant than  you  are." 

Sachs  immersed  himself  in  the  chil- 
dren-run Memphis  Children's  Theatre 
from  sixth  grade  through  high  school.  "It 
had  the  most  diverse  group  of  people  I'd 
ever  been  involved  with,"  he  says.  "Black 
kids,  white  kids,  rich  kids,  poor  kids." 

He  made  his  directing  debut  in  high 
school  {Our  Town)  and  went  on  to  direct 


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30 

AIVF  presents:  FT^ 


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The  "must  know"  monthly  series  continues  with 
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October  2005  I  The  Independent  19 


)^a< 


<* 


Con^tvl«iion5 


AIVF  Screenwriter 
Mentorship  2005 

participants: 


Gwendolyn,  Shula  &  Peggy  Muldoon 

-  Ela  Thier 

Dispatches  from  the  Cold 

What  Happened  To  Frank 

._  ,     ..   _  Verity's  Million 

Ruby,  My  Dear  -Adam  No 

•  Kyn 

Margery 

Utter  Normalcy  -PeterVon  Ziegesar 

- 

Laos  to  Lancaster 

-  Colin  McGreal 

Dead  Husband's  Day 

-  Derek  Cur!  &  Noa  Berman  Herzberg 

Accidents  at  Home  and  How  They  Happen 

-  Jennifer  Reeder 


Screenwriting  seminars  and  call  for  entries 

commence  Spring  2006 

For  complete  information,  visit  www.aivf.org 


Dina  Korzun  in  Forty  Shades  of  Blue  [photo  courtesy  of  First  Look  Pictures] 


mostly  experimental  theater  at  Yale.  But 
it  was  during  a  semester  abroad  in  Paris 
that  he  gained  his  most  valuable 
education.  "I  was  a  lonely  college  student 
who  didn't  speak  too  much  French,"  he 
says.  "So  I  saw  181  movies  in  a  three 
month  period.  I  had  never  seen  a 
Cassavetes  film  or  a  Fassbinder  film.  It 
was  like  baseball  card  collecting  behav- 
ior." Despite  these  influences,  Sachs 
wound  up  modeling  his  style  after  Ken 
Loach,  whose  camera  remains  mostly 
fixed  and  observant,  allowing  the  actors 
to  own  their  space. 

In  1992,  Sachs  made  the  short  film 
Vaudeville,  financed  for  $50,000  by  his 
parents  and  with  a  few  small  grants.  He 
returned  to  Memphis  after  a  10-year 
absence  in  1994  to  prepare  The  Delta,  a 
personal  film  about  a  boy  coming  to  grips 
with  his  sexuality  and  the  unintended 
impact  his  privileged  status  has  on  some- 
one even  further  outside  society. 

In  happier  times  with  Rohatyn,  Sachs 
took  the  Forty  Shades  script  to  the 
Sundance  Writer's  Lab,  where  he  received 
guidance  from  Stewart  Stern,  who  wrote 
the  screenplays  for  Rebel  Without  a  Cause 
(1955)  and  The  Last  Movie  (1971).  "It 
was  comforting  to  hear  people  who  knew 


more  than  you  tell  you  that  you  were 
doing  nothing  new,  and  all  you  have  to 
do  is  go  back  to  basics  and  tell  the  story 
well,"  Sachs  says. 

While  the  origin  and  intelligence  of 
Forty  Shades  can  be  traced  to  Sachs  and 
Rohatyn,  its  emotion  oozes  out  of  its 
actors:  Korzun,  Torn,  and  Burrows. 

Burrows  doesn't  have  to  dig  deep  to 
praise  Sachs.  "Ira  has  so  much  self-confi- 
dence, especially  for  a  director  new  in  his 
career,"  he  says.  "There  is  often  a  fear 
with  a  new  director  that  they  hold  on  so 
tight  it  almost  slips  through  their  fingers, 
but  he  had  complete  control." 

Which  isn't  to  say  there  wasn't  con- 
flict. Torn  says:  "Making  a  film  is  like  a 
military  operation.  It's  not  lovey-dovey 
all  the  time.  Brothers  can  wrangle." 

Burrows  applies  a  more  positive  spin. 
"I  think  Ira  thrived  on  the  tension,"  he 
says.  "It's  all  a  part  of  the  creativity  and 
the  dance.  Like  a  big  ballroom  dance, 
and  if  there's  just  one  guy  telling  every- 
one how  to  dance,  it  becomes  stale." 

Choreographing  his  life  and  art  from 
Memphis  to  Paris  and  New  York,  Ira 
Sachs  seeks  fresh  interactions — not 
shrink-wrapped  and  uniform,  but  loose 
and  unpredictable.    "& 


20  The  Independent  I  October  2005 


ON   THE    SCENE 


X^*SU~- J' 


y  mzt  _ 


ew       York 

cinephiles 

will  endure 
a  great  deal  of  dis- 
comfort to  see  great 
independent  films:  the 
noise  of  the  F  train  at  the  Angelika, 
cramped  seating  at  the  Film  Forum,  the 
schlep  to  Brooklyn  to  see  a  Wong  Kar 
Wei  series  at  BAM  Rose  Cinemas.  Even 
the  latest  potential  deterrent — the  union 
picket  lines  outside  the  IFC  Center — 
didn't  stop  indie  fans  from  patronizing 
New  York  City's  newest  arthouse  theater. 
Despite  the  ongoing  protests  about  the 
IFC  Center's  use  of  non-union  projec- 
tionists, Miranda  July's  Me  and  You  and 
Everyone  We  Know,  which  opened  the 
theater  in  June,  grossed  $40,000  in  its 


The  IFC's  success  flies  in 
the  face  of  Hollywood's  19- 
week  summer  slump.  In  fact,  our 
informal  survey  of  the  city's  major  inde- 
pendent theaters  suggests  they've  all  man- 
aged to  dodge  the  box-office  bullet. 
Obviously,  the  long-suffering  film  fans 
deserve  some  thanks.  But  the  real  reason 
that  New  York's  independent  theaters 
continue  to  thrive — even  with  a  fancy 
newcomer  in  their  midst — is  that  each 
one  has  established  a  unique  reputation 
for  itself. 

The  Landmark  Sunshine  Cinema  sets 
itself  apart  from  other  downtown  theaters 
by  offering  independent  fare  in  a  goo- 
gooplex       setting.       The       L. A. -based 


Landmark,  now  owned  by  the  Samuel 
Goldwyn  company,  operates  57  theaters 
in  14  states,  and  it  employs  the  same  sta- 
dium-style seating  and  state  of  the  art 
sound  you'd  find  in  an  AMC  theater. 

"What  makes  us  unique  is  our  top- 
notch  facility — it's  the  best  theater  to  see 
a  film  in  the  Village,"  says  head  film 
buyer  Ted  Mundorff.  The  leg  room  alone 
helps  the  Sunshine  siphon  off  downtown 
audiences  from  the  Film  Forum  and  the 
Angelika's  shoebox  theaters,  and  its  pop- 
ularity, in  turn,  has  made  it  a  top  pick 
among  distributors. 

"Within  the  film  community,"  says 
Mundorff,  "everybody  knows  how  each 
film  performs  at  different  theaters. 
Distribution  companies  will  look  at  that 
gross,  and  say  'Hey,  we  really  like  how 


October  2005  I  The  Independent    21 


our  last  film  did  at  the  Sunshine,  and  so 
we  think  the  Sunshine's  the  right  place 
for  [our  new  film]."  The  success  of  Wong 
Kar  Wei's  In  the  Mood  for  Love  at  the 
Sunshine  in  2000,  for  instance,  made  the 
theater  the  natural  choice  to  open  2046 
last  summer. 

"We  do  take  chances,"  says  Mundorft, 
citing  the  Sunshine's  recent  run  of 
Caterina  in  the  Big  City  (2003).  "It  had  a 
very  small  distributor,  and  we  definitely 
took  a  risk  because  it  didn't  have  the  mar- 
keting muscle  that  films  from  Fox 
Searchlight  Pictures  or  Paramount 
Classics  would  have.  But  we  thought  the 
film  was  worthwhile."  Still,  the  reality  is 
that  New  York  is  an  expensive  place  to 
open  a  movie,  one  that  requires  pricey 
publicists  and  ads  in  the  New  York 
Times.  If  that's  not  in  the  distribution 
budget,  the  theater  itself  must  pick  up 
the  slack. 

Smaller  houses  lure  audiences  with 
more  grassroots  publicity.  Karen  Cooper, 
the  director  and  programmer  of  first-run 
films  at  the  Film  Forum,  boasts  a  website 
that  attracts  8,000  visitors  a  day  and  a 
newsletter  that  goes  out  to  25,000  sub- 


scribers. The  theater  has  a  strong  market- 
ing arm  on  staff  and  will  go  out  of  its  way 
to  expose  new  filmmakers. 

The  Sunshine  and  the  IFC  Center  may 
have  better  seats,  and  the  backing  of  much 
larger  corporations,  but  the  six  screen 
Angelika  has  been  around  longer — which 
is  a  significant  bonus  for  distributors. 

"The  Angelika  is  virtually  a  name 
brand  in  the  Village,  unlike  the 
Landmark  or  the  IFC,  which  are  still 
establishing  their  reputations,"  says 
George  Mansour,  the  71 -year-old  film 
buyer  who  advises  vice  president  Ellen 
Cotter  on  which  films  the  Angelika 
should  book. 

Distributors  often  have  an  idea  of 
where  they  want  their  film  to  open,  and 
the  Angelika,  says  Mansour,  "seems  to 
attract  an  audience  with  an  edgy  profile." 
For  a  "young,  hipper,  Jim  Jarmusch-type 
film,"  the  Angelika  would  be  the  choice, 
as  it  was  for  Broken  Flowers  this  year.  If  the 
movie  is  skewed  older  and  subtitled,  on 
the  other  hand,  Lincoln  Plaza  would  be  a 
better  venue.  But  these  pre-conceived 
notions  don't  always  work  in  the 
Angelika's  favor. 


"We  wanted  Murderball — everyone 
did.  But  when  we  didn't  get  it,  it  was 
important  to  know  that  we  could  plug  in 
The  Beat  That  My  Heart  Skipped  or  9 
Songs.  You  have  to  find  some  unknown 
film  to  screen  at  the  same  time."  One 
option  is  to  find  a  film  that  may  not  be 
"aesthetically  great"  but  will  appeal  to  a 
certain  audience,  like  the  Israeli  film 
Walk  on  Water  (2004).  "It  wasn't  a  great 
movie,"  says  Mansour.  "But  it  was  well- 
done  and  it  tapped  into  an  ethnic  audi- 
ence." 

The  Film  Forum's  Cooper  goes  out  of 
her  way  to  expose  her  audience  to 
unknown  filmmakers.  "I  think  we're  the 
single  most  important  institution  [in  the 
city]  for  doing  that,"  says  Cooper.  Like 
all  programmers,  she  and  partner  Mike 
Maggiore  spend  time  on  the  festival  cir- 
cuit scouting  out  films,  but,  unlike  at 
most  theaters,  the  pair  will  also  consider 
movies  sent  over  the  transom.  When  we 
spoke,  a  dozen  DVDs  sat  at  Cooper's 
feet,  all  in  need  of  viewing  in  the  next  few 
weeks. 

"At  this  point,"  says  Cooper,  "we  have 
so  much  work  that  comes  in,  we're  not 


ASPEN 

SHORTS 
F  E  S  T 

2006 


"A  brilliantly  conceived  miracle  of  a  festival." 
Alexander  Payne  (Shortsfest  2005  Juror) 

"A  heavily  attended,  exquisitely  programmed  and 
consistently  entertaining  collection  of  short  films." 
Filmmaker  Magazine 

CALL  FOR  ENTRIES 

live  action,  animation,  documentary 


ENTRY  DEADLINES 


EARLYBIRD  -  Nov  4, 2005 
FINAL  -  Dec  14, 2005 


15th  ANNUAL 

international  short  film 

&  video  competition 

APRIL  5  -  9, 2006 


GUIDELINES  AND  ENTRY  FORM 


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shortsfest4aspenfilm.org 
970  925  6882  ext,  106 

This  Aspen  Filmfest  presentation  is  sponsored  in  part  by  the  National 
Endowment  for  the  Arts,  Colorado  Council  on  the  Arts  and  City  of  Aspen. 


22  The  Independent  I  October  2005 


4CVIEW 


ENOVATION 


The  old  Waverly  Theater  was  transformed  into  the  IFC  Center  this  year  [photo  courtesy  of 
Bogdanow  Partners  Architects] 


taking  unsolicited  films.  We  have  to  have 
materials  sent  in  advance  that  make  us 
want  to  see  it." 

Her  criteria  is  simple:  The  work 
should  be  "passionate  and  intelligent  and 
break  boundaries,"  and  she  likes  to 
include  films  with  a  political  agenda.  The 
theater  has  a  rich  history  of  premiering 
documentaries,  which  run  the  gamut 
from  big  releases  like  The  Brandon  Teena 
Story  (1998)  to  more  obscure  docudra- 
mas  such  as  On  the  Outs  (2004) — which 
opened  at  the  theater  this  summer.  The 
Film  Forum's  dedication  to  these  films 
even  extends  beyond  their  run.  When  On 
the  Outs  moved  to  the  IFC  Center,  the 
Film  Forum  noted  the  new  home  on 
their  website. 

"We  didn't  do  it  for  the  IFC,"  Cooper 
points  out.  "We  did  it  for  the  filmmak- 
ers." She  says  she  would  do  the  same  for 
other  theaters,  like  the  Quad  Cinema  or 
Cinema  Village.  "Often  we  will  open  a 
film,  and  then  other  people  will  continue 
to  make  money  on  it.  That's  fine — we 
want  the  filmmakers  to  have  ongoing 
success.  But  we're  the  ones  who  made  the 
initial  commitment  and  took  the  risk." 

The  Film  Forum  will  also  go  to  great 
lengths  to  showcase  the  best  possible 
prints  for  the  repertory  side  of  the  the- 
ater.   Bruce   Goldstein,    the   director   of 


repertory  programming,  got  into  the 
business  of  distribution  just  to  secure  the 
classics  he  wanted  to  screen. 

Both  efforts — to  expose  new  filmmak- 
ers and  to  restore  cult  classics — are  part 
of  the  Film  Forum's  ongoing  mission  to 
cultivate  a  dedicated  audience,  which  is 
really  all  an  independent  movie  theater 
can  hope  for.  The  Walter  Reade  Theater, 
which  is  part  of  Lincoln  Center  for  the 
Performing  Arts,  for  example,  keeps  its 
audiences  coming  back  in  part  because  it 
repeats  its  popular  festivals  every  year, 
such  as  the  New  York  Film  Festival,  the 
New  York  Jewish  Film  Festival,  and 
Scanners — a  series  for  video  and  digital 
artists. 

"Obviously  the  films  change,  but 
those  are  series  we've  established  and 
they've  proved  very  successful,"  says  pro- 
gram director  Richard  Pena.  "We  have  an 
audience  who  likes  what  they've  seen, 
and  they  come  back  to  see  more." 

As  nonprofits,  the  Walter  Reade  and 
the  Film  Forum  aren't  governed  solely  by 
the  theater's  gross,  and  both  Pena  and 
Cooper  emphasize  this  freedom  in  their 
programming  decisions. 

"We  don't  have  any  agenda  other  than 
showing  the  best  possible  films,"  says 
Cooper.  Her  distinction  is  meant  as  a 
slight  dig  at  commercial  houses  like  the 


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October  2005  I  The  Independent  23 


IFC  Center.  Many  suspect  the  IFC's 
interests  lie  only  in  promoting  its  parent 
company's  films,  but  vice  president  and 
general  manager  John  Vanco  sees  the 
Center  falling  somewhere  in  between 
these  two  extremes. 

"I  think  of  us  as  a  for-profit  theater 
that  acts  like  a  nonprofit,"  says  Vanco. 
IFC-produced  and  distributed  films  will 
certainly  occupy  one  of  the  Center's 
three  screens  much  of  the  time,  but 
Vanco  isn't  taking  all  his  cues  from 
above.  He  says  his  role  is  not  unlike  the 
one  he  held  at  Cowboy  Pictures,  the 
now  defunct  distribution  company  he 
co-founded. 

"In  some  ways  it's  similar  to  the  acqui- 
sitions policy  that  Noeh  Cowan  [Cowboy 
Pictures  co-founder]  and  I  had,  in  that 
we  only  went  after  films  that  we  were 
really  excited  about."  The  Center's  pre- 
miere of  Darwin's  Nightmare  last  August 
is  one  case  in  point.  After  seeing  it  at  the 
Toronto  International  Film  Festival, 
Vanco  committed  to  showing  it  at  the 
center  before  it  even  had  a  US  distribu- 
tor. Wendy  Lidell  at  International  Film 
Circuit  has  since  picked  it  up,  in  part 


because  the  film's  agent  told  her  it  was 
going  to  open  at  the  IFC  Center.  (Note 
to  anyone  seeking  a  distributor: 
"Knowing  that  a  film  is  assured  a  New 
York  opening  can  help  secure  one,"  says 
Lidell.) 

Now,  Darwin's  Nightmare  is  turning 
into  a  filmmaker's  dream.  Its  Wednesday 
night  US  premiere  grossed  Si, 465.  On 
Thursday,  it  grossed  nearly  $2,000.  The 
strong  mid-week  showing  says  to  Lidell 
that  it  could  bring  in  $20,000  a  week — 
excellent  numbers  for  a  little-known  doc- 
umentary about  the  horrifying  plight  of 
Tanzanian  fisherman.  It's  now  slated  to 
open  in  50  cities. 

"We  really  see  that  as  an  example  of 
our  mission — to  take  a  movie  like  that 
and  get  some  attention  for  it,"  says 
Vanco. 

The  IFC  Center  distinguishes  itself  in 
other  ways.  There's  the  adjoining  restau- 
rant and  bar,  a  takeoff  of  the  Tribeca  Film 
Center  (formerly  the  Screening  Room, 
which  is  now  used  for  the  Tribeca  Film 
Festival  and  private  screenings.)  Editing 
suites,  due  to  open  this  fall,  will  be  used 
primarily  to  edit  IFC  films,  movie  trail- 


ers, and  shorts  that  the  Center  screens 
before  every  feature — a  perk  no  other 
New  York  theater  boasts.  Even  the  ani- 
mated trailer  for  the  Center  is  unique.  Its 
litany  of  "No's"  includes  everything  from 
the  familiar  "No  Cell  Phones"  to  its 
refreshing  "No  Commercials"  policy. 

"The  most  that  a  theater  like  ours  can 
aspire  to,"  says  Vanco,  "is  to  develop  a 
relationship  with  an  audience  that  will 
elevate  the  chance  of  little-known  films 
to  be  seen."  Competing  for  his  neighbor's 
business,  he  insists,  is  not  a  priority. 

"There  are  so  many  great  theaters  here 
doing  different  things,  and  there  are  so 
many  good  movies  that  are  deserving  of 
a  good  home,"  he  continues.  "There  will 
certainly  be  moments  when  there  will  be 
some  kind  of  competition  over  a  partic- 
ular film,  but  I  don't  feel  competitive 
with  them." 

Vanco's  neighbors  don't  necessarily 
feel  as  warm  and  fuzzy.  The  Sunshine's 
Ted  Mundorff  agrees  that  the  key  to  an 
independent  theater's  success  is  to  devel- 
op its  own  niche.  "But  we're  still  com- 
peting for  the  same  dollar,"  he  says,    is 


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Scheduled  panelists  (with  more  to  be  announced): 

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24  The  Independent  I  October  2005 


Creating 


COMPELLING  CHARACTERS 

What  the  screenwriter 
can  learn  from  the  novel 


BY  JEFF  BENS 


"W: 


hen  I  start  a  novel,  I  generally  don't 
have  much  more  than  a  loosely  for- 
mulated premise  with  regard  to 
plot,"  says  novelist  Jonathan 
Tropper  (Everything  Changes,  The  Book  of  Joe,  Plan  B).  "What  I 
do  have  is  a  very  clear  idea  of  a  protagonist,  a  personality,  a 
composite  of  fears,  foibles,  quirks,  and  drives." 

In  film  scripts,  the  depth  and  strength  of  characters  is  just  as 


important  as  it  is  in  the  novel.  However,  because  screenwriters 
have  more  limited  means  to  express  the  internal,  developing 
characters  often  requires  different  techniques. 

Andrew  Wagner  (whose  film  The  Talent  Given  Us  just 
received  the  Best  First  Feature  Film  prize  at  the  Michael  Moore- 
founded  Traverse  City  Film  Festival)  says,  "As  our  protagonist 
becomes  more  active  in  the  pursuit  of  something  known  or  pre- 
conscious  or  both,  the  natrative  responds  with  greater  situa- 


October  2005  I  The  Independent    25 


ill 


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STERLING 

VINTNER'S  COLLECTION5 


The  Wagners  on  their  trip  in  The  Talent  Given  Us  [photo  courtesy  of  Chelsea  Gilmore] 


tional  resistance.  The  root  of  a  compelling  character  is  his  or  her 
awakening  to  necessity."  But  because  interior  monologues 
require  distracting  devices  like  voice-overs,  this  quality  is  often 
difficult  to  achieve  in  a  screenplay, 

"In  creating  character  for  the  screen,"  says  Tropper,  "the  abil- 
ity to  present  personality  through  visuals  and  dialogue  is,  natu- 
rally, crucial,  since  there  is  almost  no  acceptable  way  to  intro- 
duce any  kind  of  narrative  exposition  without  calling  the  view- 
er's attention  to  the  storytelling  and  away  from  the  story.  Once 
you  have  to  shout,  'Pay  no  attention  to  the  man  behind  the  cur- 
tain,' Oz's  cover  is  already  blown...  When  it  comes  to  characters 
I  find  it  helpful  to  think  like  a  screenwriter,  and  I  ask  myself, 
how  can  I  reveal  this  character's  essence  in  action  (visual)  and 
dialogue,  as  opposed  to  exposition.  In  my  estimation,  this  is  the 
purest  form  of  creating  a  character,  where  the  essence  is 
conveyed  rather  than  explained." 

Joan  Silber,  author  of  the  novels  Household  Words,  In  the  City, 
In  My  Other  Life,  and  Lucky  Us,  says  she  thinks  "fiction  is  based 
on  the  premise  that  people  reveal  themselves  through  their 
behavior.  They  might  have  quite  different  inner  lives  but  what 


they  do  is  still  who  they  are,  and  they  mostly  do  it  to  each  other. 
It's  hard  to  create  interest  if  a  character  is  alone  too  much.  I  say 
this  knowing  how  much  I  like  writing  anyone's  moments  of 
solitary  reflection." 

It  is  across  these  moments  of  solitary  reflection  when  using 
the  visual  to  connect  the  viewer  to  the  character  becomes  most 
essential.  If  the  protagonist  simply  reports  how  she  feels,  it's 
much  less  likely  to  resonate. 

Filmmaker  David  Gordon  Green  {George  Washington,  2000, 
All  the  Real  Girls,  2003,  Undertow,  2004)  makes  a  study  of  these 
revealing  visual  details.  "I  like  to  listen  to  and  even  record 
conversations  on  buses  and  trains.  I  go  to  the  post  office  at 
lunchtime  when  there  are  the  longest  lines.  The  DMV,  night 
court,  public  places  where  conversations  and  exhibited  feelings 
are  as  diverse  as  the  characters  themselves.  Settings  and  locations 
are  everything.  They  speak  for  your  characters.  Voices,  faces, 
behavior  can  all  get  an  emotional  reaction  out  of  us." 

But,  Silber  cautions,  detail  doesn't  have  to  be  exclusively  visu- 
al. "A  quoted  bit  of  remembered  dialogue,  a  tone  of  voice,  a 
distinctive  accent — wouldn't  these  serve  the  same   purpose? 


October  2005  I  The  Independent    27 


David  Gordon  Green  directing   Undertow 
[photo  courtesy  of  Lisa  Muskat] 


Sensory  detail  is 
indeed  crucial,  but 
I  don't  think  there's 
a  template  for  the 
proportions  need- 
ed," she  says. 

Tropper  suggests 
another  useful 

technique  for 

screenwriters.  "I 
internalize  this 

character  in  much 
the  same  way  a 
method  actor 

might  internalize 
the  traits  of  the 
character  he  is 
going  to  play.  In 
doing  so,  I  imbue 
the  character  with 
my  own  lesser, 
impure  qualities:  my  anger,  my  insecurity,  my  selfishness,  my 
narcissism.  This  lets  the  character  evolve.  If  I've  been  successful, 
then  when  I  drop  this  character  into  the  loose  premise  I've  con- 
structed, the  plot  will  pretty  much  take  shape  around  him." 

Silber  mentions  a  famous  quote  from  playwright  August 
Strindberg:  "When  a  rape  takes  place  in  a  greenhouse,  it's  not 
necessary  to  name  every  plant."  But,  Silber  says,  "I  do  get  to  know 
my  characters  by  defining  them  through  work  and  through  loca- 
tion. All  of  that  is  crucial  to  my  summoning  them." 

In  screenwriting,  action  determines  plot.  However,  Green 
cautions  "characters  aren't  there  to  service  plot.  Action  should 
serve  characters  and  be  observed  from  around  corners  or  with 
eyes  squinted."  In  George  Washington,  for  instance,  Green  estab- 
lishes Rico's  (Paul  Schneider)  loneliness  by  his  surprising  dia- 
logue with  a  teenager  (Curtis  Cotton  III):  Against  a  backdrop  of 
rusted  building  shells  and  abandoned  truck  lots,  the  characters 
talk  about  their  love  for  their  mothers  and  then  walk  into  the 
setting  sun  across  the  barren  concrete  plateau,  along  an  18- 
wheeler  graveyard,  sparklers  flaring  in  their  hands. 

Wagner's  documentary-style  fictional  film,  The  Talent  Given 
Us,  is  a  low-budget  study  in  externalizing  the  internal.  There's 
not  much  plot:  Wagner's  real-life  family  travels  from  New  Jersey 
to  Los  Angeles  to  visit  their  estranged  son.  But  along  the  way, 
action  by  action,  the  characters  emerge;  by  California,  they've 
bared  their  hearts.  For  example,  at  a  craps  table  in  a  low-rent 
casino,  as  Wagner's  parents  argue  about  the  game,  we  see  an 
entire  marriage  play  out.  "It  is  in  the  personal  that  we  find  char- 
acters who  are  idiosyncratic,  unprecedented,  and  unafraid  of 
imperfection,  and  most  true  because  of  their  fidelity  to  being 
human,"  Wagner  explains.  "Being  human,  flaws  and  all,  is  how 
a  character  comes  to  take  residence  in  the  universal  and  form  a 
connection  with  the  audience." 


Screenwriters  have  to  be  careful  not  to  assume  that  a  charac- 
ter's affability  will  create  empathy  in  the  viewer;  audiences  can 
see  through  characters  who  act  in  ways  the  writer  hopes  will 
charm,  regardless  of  the  truth  of  the  action. 

"There's  this  unwritten  rule  that  a  protagonist  has  to  be  sym- 
pathetic to  some  extent,  so  that  the  reader  will  connect  with 
him,"  says  Tropper.  "I've  always  thought  this  was  a  crock.  Make 
a  character  too  'likeable'  and  no  one  will  connect  with  him.  I 
think  readers  identify  with  deeply  flawed  characters,  seeing  in 
them  fleshed  out,  exaggerated  versions  of  their  own  more  mild- 
ly presenting  imperfections.  A  character  saddled  with  larger, 
more  readily  apparent  or  confessed  versions  of  these  flaws,  who 
nevertheless  manages  to  stumble  through  a  redemptive  arc  is 
someone  with  whom  the  reader  will  empathize,  especially 
when  his  behavior  is  less  than  admirable." 

Silber  says  that  for  her  first  book,  "I  planned  to  write  about 
a  family,  first  from  the  mother's  point  of  view  and  then  from 
the  daughters'.  But  I  already  knew  what  the  daughter 
thought — the  stretch  of  trying  to  inhabit  the  often  unlikable 
mother  was  much  more  interesting,  and  so  I  stayed  with  her." 

Green  puts  it  this  way:  "Maybe  it's  attractive,  maybe  it's 
repulsive,  but  when  I  read  or  pay  money  to  see  a  particular 
character,  I  want  to  feel  something." 

Thus,  the  writer's  task  is  to  find  the  small  traits,  likeable  or 
not,  that  actively  define  character. 

In  filmmaking,  however,  these  traits  often  evolve  once  the 
script  goes  into  production — actors  and  directors  add  their 
interpretations  to  characters.  Green  says  that  when  he  writes  a 
character,  he  eventually  has  to  trust  the  actor  to  "make  it  real. 
Get  actors  in  the  room  and  have  them  bring  everything  they've 
felt  and  beat  each  other  and  make  the  sentimental  real."  It's  the 
truth  of  the  sentiments  and  actions  expressed  by  each  character 
that  connects  the  viewer  or  reader  to  the  story — projected  or 
printed. 

"High-concept  Hollywood  films  have  proved  time  and  again 
that  artificial  change  leaves  us  feeling  empty,"  says  Wagner.  The 
pressure  to  continually  top  each  story,  to  continually  delight  the 
audience  with  the  cleverness  of  the  writer,  often  seems  to  stifle 
the  fun  long  before  the  story  has  played  to  climax  and  resolution. 

Ray  Bradbury  in  Zen  and  the  Art  of  Writing  writes,  "We 
know  how  fresh  and  original  is  each  man,  even  the  slowest  and 
dullest.  If  we  come  at  him  right,  talk  him  along,  and  give  him 
his  head....  And  when  a  man  talks  from  his  heart,  in  his 
moment  of  truth,  he  speaks  poetry." 

"I  have  a  few  too  many  500-page  screenplays,"  says  Wagner. 
"Born  from  the  secret  wish  to  attain  the  level  of  transcendence 
in  the  masterworks  of  my  cinematic  heroes,  but  when  I  was 
finally  able  to  pull  myself  from  the  ditch  of  this  masquerade,  I 
did  remember  to  take  with  me  what  was  creatively  vital  about 
these  marathons — the  need  to  open  over  and  over  again,  more 
deeply  each  time.  It  is  in  this  act  of  surrender  that  characters 
are  heard,  found,  and  given  breath."  °k 


28  The  Independent  I  October  2005 


ON  THE  SAME  PAGE 

Screenwriting  teams  discuss  collaboration 


BY  LISA  SELIN  DAVIS 

Earlier  this  year,  I  got  a  call  from  a  friend  of  a  friend — 
a  former  executive  producer  of  a  children's  television 
show.  He  asked  me,  'Are  you  interested  in  writing  for 
television?" 
The  truth  was  that  writing  for  television  had  never  been  one 
of  my  goals,  exactly,  but  the  idea  of  emerging  from  my  isolated 
writer's  office  and  interacting  with  other  human  beings — not  to 
mention  making  some  serious  cash — was  tempting.  I  had 
visions  lifted  from  the  "Dick  Van  Dyke  Show,"  or  Neil  Simon's 
"Laughter  on  the  23rd  Floor":  a  joyous  group  of  writers  joshing 
around  in  a  room  as  comic  genius  unfolded.  So  I  told  him  yes 
and  asked  if  he  was  working  on  a  new  show. 
He  answered  no. 

He  was  looking,  I  realized,  for  a  writing  partner,  not  a  writer- 
for-hire.  So  I  met  him  for  coffee,  understanding  that  I  was  being 


auditioned  for  a  part.  We  got  along  well — chatted  excitedly, 
talked  about  everything  except  writing.  When  it  was  time  for 
me  to  leave,  I  felt  elated.  It  was  like  the  best  date  I  ever  had. 

Over  the  next  two  months,  we  played  out  an  entire  20-year 
relationship  — from  the  honeymoon  to  the  divorce — all  with- 
out writing  a  word  together.  We  talked  on  the  phone.  We  wrote 
long  emails.  (None  of  this  was  romantic;  each  of  us  lived  with 
our  respective  smoochies.  But  it  was  strangely  intimate — an 
artistic  love  affair.)  When  he  finally  told  me  his  idea  for  a  show, 
I  was  a  little  surprised,  maybe  the  teensiest  bit  disappointed. 
Because  I  have  no  poker  face,  my  reaction — shrugging  my 
shoulders  and  saying,  "Errr,  it's  okay,  I  guess" — was  the  begin- 
ning of  the  end. 

He  went  on  to  find  another  writing  partner,  and  I  went  back 
to  writing  alone.  In  that  short  time  I  learned  that  while  it's  great 
to  have  a  similar  sensibility,  there  are  many  other  ingredients 


October  2005  I  The  Independent    29 


Claudia  Johnson  and  Matt  Stevens  are  co-authors  of 
Script  Partners:  What  Makes  Film  &  TV  Writing  Teams  Work 


that  are  just  as  important  to  a  writing  partnership. 

A  screenwriting  partnership  is  a  kind  of  marriage.  It  requires 
relationship  skills  and  the  screenwriter's  equivalent  of  a  pre-nup 
to  avoid  a  painful  separation. 

"It's  harder  than  marriage,  because  there's  no  sex,"  says 
Claudia  Johnson,  co-author  of  Script  Partners:  What  Makes  Film 
&  TV  Writing  Teams  Work.  There  are  always  horror  stories — 
folks  suing  one  another,  friendships  ended,  bad  blood  boiling 
up.  But  the  pros  can  far  outweigh  the  cons.  "The  biggest  advan- 
tage of  working  together  is  moral  support,"  says  Matt  Stevens, 
Johnson's  writing  partner.  "You  have  somebody  by  your  side  and 
somebody  on  your  side,"  Johnson  adds. 

"The  great  thing  about  collaboration  is  that  you  take  out  the 
hardest  element  of  writing,  which  is  isolation,"  says  Joe 
Stillman,  who  co-wrote  both  Shrek  movies.  Because,  as  Bill 
Lundy,  former  chairman  of  the  Screenwriters  Network,  says, 
"everything  that  comes  out  of  your  head  isn't  going  to  be  gold," 
a  partner  can  bring  much  needed  feedback  and  perspective. 

The  key  to  a  successful  partnership,  say  Johnson  and  Stevens, 
is  to  find  the  right  writing  partner,  which  is  not  as  obvious  a 
process  as  it  may  seem.  "Look  among  people  you  know  and 
know  well,"  Johnson  advises.  "It's  easier  to  work  together  when 


you've  worked  out  the  bugs  of  being  together."  If  you  know 
someone  socially,  you  already  know  a  few  important  details:  do 
they  make  you  laugh?  Do  they  laugh  at  your  jokes?  Can  you 
recover  gracefully  from  a  disagreement?  Siblings  and  spouses 
make  good  writing  teams  because  they've  already  established  a 
pattern  of  interaction. 

"We  had  to  share  food  from  day  one  when  it  came  down  the 
pipe,  so  we're  pretty  good  at  sharing,"  says  Mark  Polish,  who  co- 
wrote  and  directed  several  films  with  his  identical  twin  brother 
Michael.  The  duo  are  now  also  co-authors  of  a  new  how-to 
book,  The  Declaration  of  Independent  Filmmaking.  "We  kind  of 
toss  things  back  and  forth — it's  almost  like  a  tennis  game."  (Not 
sharing  properly  might  look  something  like  that  memorable 
scene  in  the  Polish  brothers'  Twin  Falls  Idaho  (1999),  in  which 
conjoined  twins  attempt  to  wrestle  one  another.) 

After  establishing  sensibility  and  compatibility,  there  is  what 
Johnson  and  Stevens  call  the  essential  commandment  of  a 
screenwriting  partnership:  "Friendship  first."  This  means  valu- 
ing the  relationship  above  money  and  occasionally  backing 
down  when  a  conflict  is  wreaking  havoc.  In  Script  Partners, 
Johnson  and  Stevens  reveal  their  own  guidelines:  "defer  to 
whomever  is  more  passionate."  One  team  they  interviewed  said 


30  The  Independent  I  October  2005 


Mark  and  Jay  Duplass  say  they've  had  almost  no  disagreements 
[photo  courtesy  of  the  Duplasses] 


they'd  transferred  all  their  marital  rules  over  to  the  writing  part- 
nership, including,  "Never  leave  the  office  angry." 

"It's  not  about  turf,"  says  Richard  Walter,  professor  of  screen- 
writing  at  UCLA's  School  of  Film,  Television  and  Digital 
Media.  "It's  not  about  territory.  It's  about  making  the  best 
movie  you  can  make."  He  adds,  "It's  not  about  being  generous, 
either.  You  want  it  to  be  the  best  movie  for  your  own  sake.  The 
point  is  not  to  have  no  ego,  but  to  get  into  the  collective  ego 
that  is  represented  by  the  movie." 

But  surrendering  to  the  collective  ego  is  no  easy  task.  As 
Stillman  says,  "It's  like  shiatsu  massage:  You  either  give  in  to  it 
or  you  scream  in  pain."  You  also  have  to  resist  the  urge  to  keep 
score,  tallying  up  who's  responsible  for  which  great  lines  or  plot 
twists.  "Once  it's  in  the  script,  it  belongs  to  the  team,"  says 
Stevens.  "Keep  financial  tabs;  don't  keep  creative  tabs."  Even  if 
it's  your  brilliant  idea,  Stevens  says,  "You  probably  wouldn't 
have  thought  of  it  if  it  weren't  for  your  partner." 

Every  member  of  a  screenwriting  team  will  say  that  mutual 
respect  is  the  foundation  of  all  healthy  partnerships.  "You  have 
to  compliment  each  other  and  complement  each  other,"  says 
Johnson.  This  means  that  in  addition  to  heaping  your  partner 
with  praise,  you  have  to  make  sure  you  have  compatible  writing 
habits.  "There's  nothing  worse  than  trying  to  work  with  some- 


Famous  indie  screenwriting  team  Alexander  Payne  and  Jim  Taylor  wrote 
Sideways  (pictured  above)  [photo  courtesy  Twentieth  Century  Fox] 


one  whose  habits  are  so  out  of  sync  with  yours,"  says  Lundy. 

It's  also  good  to  choose  someone  who  has  strengths  where 
you  have  weaknesses  and  vice  versa.  The  Duplass  brothers, 
whose  film  The  Puffy  Chair  was  a  hit  at  Sundance  this  year,  say 
they've  had  almost  no  disagreements,  and  that's  because  they 
balance  one  another  out.  "I  like  to  barrel  forward.  I'm  sort  of  a 
charging  bull,"  says  Mark.  While  Jay  says,  "I'm  the  dude  who 
puts  on  the  brakes." 

The  way  partners  work  depends  not  only  on  the  partners 
themselves,  but  on  the  project.  Occasionally  partners  share  a 
space,  though  rarely  the  same  room.  Married  screenwriting 
teams  sometimes  have  offices  in  the  same  house.  With  the 
Duplass  brothers  and  the  Polish  brothers,  often  one  person  will 
tackle  the  first  draft,  and  the  other  will  give  notes  or  revise. 
Sometimes,  after  the  story  is  outlined,  scenes  are  divvied  up  and 
pasted  together  later.  "If  we  don't  conceive  of  the  idea  together, 
or  we're  not  hot  on  the  same  thing  at  the  same  time,  it's  a 
matter  of  including  each  other  and  getting  the  other  up  to 
speed,"  says  Jay. 

One  way  to  maintain  partnership  bliss  is  to  put  your  agree- 
ment down  on  paper.  "You  can  say  you're  friends  and  you  can 
say  nothing  will  ever  come  between  us,  but  the  minute  money 
gets  involved,  people  change,"  says  Lundy.  The  Writers  Guild  of 
America  offers  a  standard  screenwriting  collaboration  agree- 
ment so  that  you  and  your  partner  can  be  on  the  same  page 
from  the  get-go.  Ask  yourself:  Are  you  partners?  Or  is  one  per- 
son just  giving  notes  on  the  other's  project?  Is  one  responsible 
for  the  story  and  the  other  for  the  screenplay?  Your  writing  rela- 
tionship needs  to  be  honed,  demystified,  and  put  down  on 
paper.  This  also  ensures  that  the  script  will  be  an  original  one. 
"Every  scriptwriter  has  some  yahoo  who  says  he  stole  [his  or 
her]  idea,"  says  Lundy.  "Robert  McKee  takes  credit  for  every 
film  made  in  Hollywood,  just  because  they  took  his  class." 

Collaboration  can  also  be  facilitated  by  software.  One  pro- 
gram called  Final  Draft  has  a  Collabo Writer  feature,  whereby 
writers  in  different  locations  can  instant  message  notes  back  and 
forth  while  working  on  the  same  document.  And  Movie  Magic 
Screenwriter,  perhaps  the  most  popular  screenwriting  software, 
has  a  similar  internet  collaboration  (iPartner)  feature,  which 


October  2005  I  The  Independent    31 


connects  disparate  computers  via  internet,  turning  the 
machines  into  virtual  phones.  "This  pretty  much  takes  out 
the  distance  between  [partners],"  says  Chris  Huntley,  vice 
president  of  Write  Brothers,  which  produces  the  software. 

Animation  features  like  Shrek  are  perhaps  the  most  collab- 
orative projects — storyboard  artists  often  rewrite  passages  or 
sketch  out  plotlines,  becoming  de  facto  screenwriters.  But 
this,  like  a  more  traditional  partnership,  can  balance  strengths 
and  weaknesses.  "Storyboard  artists  are  great  at  finishing 
moments  and  finding  tidbits  to  define  character  and  begin- 
ning to  unfold  plot,"  says  Stillman.  "You  still  need  somebody 
who  takes  in  the  big  picture  and  can  not  only  track  to  story, 
but  can  bring  further  background  to  the  characters." 

For  screenwriting  partners  in  Hollywood,  partnership  is 
not  just  an  emotional  and  temporal  investment,  it's  a  voca- 
tional commitment.  In  the  studio  system,  once  you  start  sell- 
ing screenplays  as  a  team,  you  are  known  that  way  and  even 
paid  that  way.  "Studios  like  it  because  they  get  two  brains  for 
the  price  of  one,"  says  Lundy.  "You're  considered  to  be  one 
writer,"  says  Stillman.  "If  the  writers  split  up,  it's  going  to  be 
much,  much  harder  to  get  work." 

Studio  collaborations  in  general  can  be  quite  different 
from  partnerships  formed  in  the  independent  world.  Writers 
often  work  in  teams-for-hire  rather  than  forming  their  own 
team,  and  very  often  other  folks  will  poke  their  noses  into 
your  creations;  it's  less  about  personal  vision  than  group 
vision. 

"I  compare  it  to  restaurants,"  says  Polish,  who  has  worked 
as  a  writer-for-hire  on  studio  scripts  in  addition  to  his  collab- 
orations with  his  brother.  "You're  trying  to  feed  a  lot  of  peo- 
ple, trying  to  find  the  taste  of  a  lot  of  people.  Independent 
film  is  more  like  a  specific  cuisine:  You  can  appeal  to  partic- 
ular tastes." 

Although  some  claim  collaboration  is  less  common  in  the 
independent  world,  where  the  auteur  mentality  reigns,  there 
are  certainly  examples  of  great  indie  teams:  Sideways  (2004) 
Alexander  Payne  and  Jim  Taylor,  the  Polish  brothers,  Joel  and 
Ethan  Coen  ( The  Big  Lebowski,  1998;  Fargo,  1996).  Many  of 
these  teams  try  to  stay  together  after  a  box  office  success.  For 
the  Duplass  brothers,  who  are  on  the  verge  of  hitting  the  big 
time,  protecting  their  collaboration  is  top  priority.  "We're 
really  into  creating  a  Duplass  brothers  stamp  on  our  style," 
says  Mark.  "Everything  is  discussed  between  the  two  of  us. 
Everything  is  conceived  and  visualized  by  both  of  us.  We're 
interested  in  staying  together." 

The  Duplass  partnership  is  enviable.  In  fact,  the  more  I 
talked  to  all  of  these  great  teams,  the  more  I  longed  for  a 
scriptwriting  partner.  I'm  even  tempted  to  take  out  an  ad 
myself  (anyone?)  or  try  to  ingratiate  myself  to  the  television 
fellow  (he  is  now  a  close  friend  even  though  he  doesn't  want 
me  scribbling  on  his  pilot  script).  As  Polish  points  out, 
"Collaboration  will  always  take  you  to  a  higher  level  than 
what  your  singular  vision  would  be."  if 


Director/producer/co-writer  Michael  Polish  and  producer/ 
co-writer/actor  Mark  Polish  at  the  Sundance  2003  Northfork 
premiere  [photo  by  George  Pimentel/Wirelmage.com] 


32  The  Independent  I  October  2005 


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03   'Z 


o.E 


BY  DAVID  ALM 


Shortly  after  Jean-Luc  Godard  released  Breathless  in  1960, 
an  exasperated  journalist  said  to  the  young  director: 
"Surely  you  think  that  a  film  should  have  a  beginning, 
middle,  and  end." 

"Yes,"  Godard  replied  after  a  moment,  "but  not  necessarily  in  that 
)rder."  Those  words  not  only  launched  the  French  New  Wave  but 
lave  since  inspired  thousands  of  young  directors  to  reject  tradition- 
il  plot  devices. 

Now,  for  better  or  for  worse,  Godard's  enigmatic  response  has 
jecome  even  further  complicated  by  the  increasingly  pervasive  use 
jf  digital  technology — which  may  be  the  demise  of  storytelling  as 
ve  know  it.  With  interactive  websites  and  DVDs,  TiVo,  and  elabo- 
rate computer  games,  the  art  of  patiently  allowing  a  tale  to  unfold  is 
starting  to  seem  antiquated. 

According  to  Marcia  Zellers,  director  of  the  Digital  Content  Lab 
it  the  American  Film  Institute  in  Los  Angeles,  whether  or  not  these 
new  technologies  will  fundamentally  change  our  concept  of  "story" 
s  "the  toughest  nut  to  crack.  We  haven't  really  figured  that  out  yet." 

The  Digital  Content  Lab  was  established  in  the  late  1990s  to  pre- 
Dare  for  the  so-called  "digital  revolution"  and  to  insure  that  new 
:echnologies  advanced — rather  than  hindered — the  art  of  story- 
relling.  "Our  primary  mission  here  is  to  be  the  torchbearers  for  great 


igital  Age 


entertainment,"  Zellers  says.  "And  to  make  sure  there  is  a  voice 
for  storytellers  in  the  digital  world.  But  in  the  digital  world,  all 
aspects  of  the  business — from  technology  to  business  to  cre- 
ative— are  all  so  complexly  interwoven  that  we  have  a  lot  of  dia- 
logue around  all  those  things." 

The  transformation  caused  by  this  digital  revolution  will, 
according  to  Zellers,  be  far  more  complicated  than  any  that 
have  come  before.  "When  films  went  from  silent  to  talkie,  the 
revolution  happened  in  one  night,  it  happened  one  time,  and 
everyone  had  to  figure  out  how  to  deal  with  it."  The  digital  rev- 
olution, on  the  other  hand,  has  been  developing  for  20  years. 
"It's  going  to  be  sort  of  a  slow  rollover,  but  I  think  the  eventual 
impact  on  our  society  is  probably  going  to  be  a  lot  more  pro- 
found than  when  movies  went  from  black  and  white  to  color,  or 
when  we  went  from  radio  to  television." 

Major  changes  include  the  disempowerment  of  big  TV  net- 
works and  studios  that  monopolize  the  airwaves.  "For  many 
years  a  lot  of  us  were  operating  under  the  assumption  that 
because  television  was  the  dominant  medium,  the  television 
monitor  would  be  the  place  where  we'd  first  see  widespread 
interactivity,"  she  says.  "And  as  years  went  by,  it  became  clear 
that  that's  not  necessarily  the  case." 


October  2005  I  The  Independent    33 


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.1=  < 


isi  s 


Louis  Alvarez  and  Andrew  Kolker,  founding  partners  of  The 
Center  for  New  American  Media,  a  New  York-based  documen- 
tary production  studio  known  for  irreverent  but  socially  mind- 
ed TV  documentaries  like  American  Tongues  (1987)  and  People 
Like  Us:  Social  Class  in  America  (2001),  were  among  the  first  to 
explore  the  possibilities  of  interactive  TV — and  to  realize  its 
limitations:  You  can  only  have  two  font  sizes,  your  project  has 
to  be  compatible  with  multiple  cable  providers,  and  you  have  to 
assume  that  most  people  don't  have  a  TV  with  a  keyboard 
attached  to  it. 

"With  interactive  television,  you  have  to  do  a  version  that 
works  for  the  people  who  have  interactivity,  but  then  you  also 
have  to  do  a  version  for  the  people  who  don't,"  Alvarez  notes. 
"And  they're  all  watching  the  same  broadcast.  If  it  goes  on  at 
8pm  on  Wednesday  night,  and  my  mother  has  her  old  1 5-inch 
set,  she's  got  to  be  able  to  watch  the  film,  and  it  has  to  make 
sense  to  her.  But  then  my  brother,  who's  Mr.  Early  Adopter, 
wants  to  get  the  interactive  stuff  going — and  he's  watching  the 
same  film.  If  we  have  all  this  interactive  stuff  on  the  screen 
impeding  on  the  regular  film,  no  one's  going  to  have  the  expe- 
rience of  just  watching  the  film." 

Most  digital  content  producers,  however,  are  bypassing  this 
problem  by  developing  content  for  cell  phones,  computers, 
PDAs — media  that  exists  in  a  more  customized,  personal  space. 
With  such  individualized  programming,  the  social  currency  that 
film  and  television  provide  could  be  lost  and  viewing  could 
become  a  thoroughly  isolating  activity.  But  this  issue  seems  to 
be  less  important  than  the  more  immediate  financial  ramifica- 
tions. "The  bottom  line  is  the  bottom  line,"  says  Tim  Shey,  co- 
founder  of  Proteus,  an  interactive  media  development  firm 
based  in  Washington,  D.C.  "It's  absolutely  revenue,  the  return 
on  your  investment.  And  there's  no  mistaking  that  the  main- 


E.3 

stream  networks  and 
content  producers  are  looking  at 
digital  media  as  a  means  to 
improve  and  sustain  their  busi- 
ness. They're  seeing  the  frag- 
mentation of  their  audience  and  the  big  three  networks  aren't 
the  big  three  networks  anymore.  They're  still  the  most  watched 
channels,  but  they've  also  seen  an  erosion  of  their  audiences 
because  of  things  like  cable,  the  internet,  and  games.  So  they  see 
it  as  almost  essential  to  their  ongoing  business." 

Moreover,  when  users  are  able  to  interact  with  and  even 
manipulate  digital  programming,  the  very  distinction  between 
creation  and  consumption  becomes  fuzzier — and  may  eventual- 
ly be  altogether  moot. 

Take  Machinima,  a  growing  trend  among  gamers  in  which 
people  manipulate  video  games  to  create  short  films,  using  the 
game  itself  as  raw  material  for  characters  and  sets.  Players 
around  the  world  can  collaborate  on  a  project:  One  person  may 
control  the  "camera  angles,"  another  may  write  the  script,  and 
another  may  do  the  casting.  The  results  can  be  anywhere  from 
silly  to  ingenious.  In  one  Machinima-made  movie,  two  soldiers 
in  full  combat  gear  from  the  game  Halo  engage  in  a  long,  philo- 
sophical debate  a  la  My  Dinner  with  Andre  (1981).  In  another, 
the  video  game  version  of  The  Matrix  is  used  to  create  new 
sequels  for  the  original  film —  humorously,  of  course. 

"Who  creates  these  stories?"  Shey  asks.  "Is  it  the  game  design- 
ers, just  by  creating  that  universe  and  those  capabilities?  Or  is  it 
the  players/auteurs  who  are  finding  new  ways  of  using  that  tech- 
nology? [Players]  have  this  almost  unprecedented  opportunity. 
They've  got  this  virtual  world  they  can  go  into,  they've  got  actors, 
they've  got  camera  angles.  One  of  them  can  jump  up  onto  the  top 
of  a  jeep  and  you  can  have  a  shot  looking  down.  It's  almost  hard 
to  explain  unless  you  can  actually  see  it,  and  that's  happening  to 
a  lot  of  the  virtual  worlds  that  are  out  there  now." 

But  who  is  the  author  in  this  digital  age,  and  will  those  who 
were  previously  revered  for  their  ability  to  weave  a  brilliant  yarn 
be  replaced  by  anyone  with  broadband  and  a  cell  phone? 


34  The  Independent  I  October  2005 


"I  think  the  reverence  for  auteurship  is  always  going  to  be 
with  us,"  Zellers  says.  "It  goes  back  to  the  desire  to  be  told  a 
great  story.  If  we  could  all  do  it,  thered  be  no  desire  to  revere 
those  folks.  It's  a  unique  and  special  talent  just  like  any  unique 
and  special  talent." 

She  adds  that  digital  media  simply  opens  the  playing  field  to 
other  players  and,  therefore,  to  new  kinds  of  stories.  "[Auteur- 
driven  content]  is  just  going  to  be  supplemented  by  other 
things,"  she  says.  "So  probably  the  person  who  has  the  greatest 
talent  for  weaving  a  well-crafted  story  will  always  remain  at  the 
top  of  the  heap  in  terms  of  people's  reverence,  but  other  people 
who  figure  out  how  to  do  really  interesting  things  with  these 
new  media,  and  who  figure  out  ways  to  create  new  experiences 
and  new  buzz  words  and  new  things  that  enter  the  lexicon,  will 
be  revered  for  different  reasons." 

One  analogy  might  be  Turntablism:  the  art  of  scratching 
records  to  create  radically  new  sounds  and  rhythms  from  other 
people's  music.  Scratching  has  plenty  of  detractors,  and  surely 
trends  like  Machinima  will  too  as  they  become  more  wide- 
spread. But  what  major  artistic  development  hasn't  known  its 
share  of  dissent? 

"People  have  been  proclaiming  the  death  of  the  novel  and 
the  death  of  film  practically  since  they  were  invented,"  Shey 
reminds  us.  "But  I  think  there  will  always  be  a  place  for  the 
novel  or  film  as  we  know  them."  He  quickly  adds  that  so-called 
"new  media"  do  not  necessarily  avail  revolutionary  new  ways  of 
telling  a  story.  "It's  nothing  new  for  media  to  be  intertextual  or 
interactive,"  he  says.  "A  lot  of  the  best  novels  require  a  great 
deal  of  user-participation,  or  user-interpretation.  And  a  lot  of 
people  will  say  that  novels  exist  somewhere  between  what's  on 


Machinima's  "Eschaton" 

[photo  courtesy  Hugh  Hancock/Strange  Company] 


Machinima's  version  of  The  Matrix 

[photo  courtesy  Hugh  Hancock/Strange  Company] 


Halo's  soldiers  (above)  engage  in  a  philosophical  debate  in  a 
Machinima-made  movie 


Machinima's  "Bloodspell" 

[photo  courtesy  Hugh  Hancock/Strange  Company] 


October  2005  I  The  Independent    35 


(Above)  Mariam  Ghani,  a  Brooklyn-based  new  media  artist,  and  one  of 
her  projects  (below)  [photos  courtesy  of  Ghani] 


the  page  and  the  imagination  of  the  person  reading  it.  The  same 
can  be  said  for  a  good  movie  or  television  show." 

The  big  difference,  he  adds,  is  that  "[digital  storytelling]  can 
be  much  more  immersing,  and  it  can  involve  the  viewer  or  the 
reader  so  much  more.  And  there  are  a  lot  more  possibilities  once 
you  add  that  element  of  network,  community,  connectivity." 

This  may  be  true.  After  all,  digital  media  allow  niche  markets 
across  the  globe  to  meet  in  virtual  environments  in  real  time, 
which  could  increase  democratic  content  and  mitigate  isolation 
(albeit  through  chat  rooms  and  instant-message  discussions,  not 
over  a  cup  of  coffee  near  your  local  cinema). 

Of  course,  whether  they  work  in  digital  or  more  traditional 


media,  not  all  storytellers  are  commercially  driven.  Digital  tech- 
nology also  facilitates  new  forms  of  art-making,  allowing  artists 
to  explore  narrative  strategies  in  unprecedented  ways.  Mariam 
Ghani,  a  Brooklyn-based  new  media  artist  whose  projects  often 
incorporate  video,  websites,  museum  installations,  reading 
libraries,  and  even  chat-room  discussions  with  the  artist,  exam- 
ines the  very  concepts  of  "narration"  and  "reception"  at  a  funda- 
mental level. 

"I  tend  to  think  of  the  raw  material  of  my  stories  as  a  data- 
base, and  the  different  ways  that  I  present  it  as  a  set  of  interfaces 
that  offer  different  entry  points  into  the  material  for  different 
audiences,"  Ghani  says.  She  invests  her  audiences  with  consider- 
able authorial  control,  thereby  diminishing  her  own  role  as 
"director." 

"When  I  first  began  working  with  video,  I  came  to  it  from  the 
tradition  of  experimental  documentary,  which  seems  very  much 
inflected  by  the  T  of  the  filmmaker,"  says  Ghani,  who  received 
her  MFA  in  photography,  video  and  related  media  from  the 
School  of  Visual  Arts  in  Manhattan.  "But  as  I  moved  into  the  art 
world,  and  shifted  into  a  practice  that's  grounded  more  and 
more  in  new  media,  I  became  less  interested  in  making  work 
that  reflects  my  life  or  my  stories,  and  more  interested  in  mak- 
ing projects  where  I  give  voice  to  the  stories  of  others — creating 
systems  for  people  to  speak,  or  translating  their  speech  into 
mediums  or  sites  where  they  are  usually  voiceless." 

She  adds,  however,  that  even  this  is  not  entirely  in  her  control. 
"It's  actually  up  to  the  viewers  how  much  narrative  agency  they 
want  to  appropriate  for  themselves,"  she  says. 

"It  really  becomes  an  individual  choice,"  explains  Ghani, 
summing  up  one  of  the  pivotal  points  in  the  digital  storytelling 
discussion.  "Will  you  engage,  or  will  you  be  just  an  observer?"  "k 


36  The  Independent  I  October  2005 


BY  ELIZABETH  ANGELL 

Scott  Heim's  1995  novel,  Mysterious  Skin,  makes  for  an 
unlikely  film.  The  story  of  two  eight-year-olds  from 
Kansas  who  are  sexually  molested  by  their  little  league 
coach  is  dark  and  sad,  rife  with  poignant  and  haunting 
detail.  To  cope,  one  boy  imagines  that  he  was  abducted  by  a 
UFO  and  lost  five  hours  of  his  life;  the  other  becomes  a  gay  pros- 
titute who  remains  drawn  to  the  sexual  predator  who  abused 
him.  When  Heim  first  set  about  the  task  of  writing  a  screenplay 
version  of  his  acclaimed  book,  he  excised  many  of  the  most  dif- 
ficult episodes.  "I  just  wasn't  sure  how  a  film  could  depict  chil- 
dren in  some  of  the  books  dramatic  situations,"  he  says. 

But  it  wasn't  Heim's  rendering  that  eventually  made  it  to  the 
screen  last  summer.  His  script,  like  so  many  other  author-driv- 
en adaptations,  languished  in  development  limbo  for  seven 
years  until  writer/director  Gregg  Araki  got  involved.  He  had 
long  been  a  fan  of  the  book,  and  he  and  Heim  struck  up  a 
friendship.  In  2003,  Araki  and  producer  Mary  Jane  Skalski  reac- 
quired the  book's  option,  and  Araki  himself  wrote  the  screen- 
play. It  was  a  much  more  dutiful  adaptation. 

"Gregg's  script  is  closer  to  my  novel  than  mine  was,"  says 
Heim.  "He  stayed  very  faithful  to  the  story  and  the  atmosphere 
in  the  book,  to  my  descriptions  of  settings,  of  interiors,  and  char- 


Turning 

Books  into 

Scripts 

Independents  do  it 

differently 


acters'  clothes  and  hairstyles  and  idiosyncrasies  and  all  that." 

And  the  film,  while  not  explicit  in  its  depiction  of  what  hap- 
pens to  the  two  boys,  pulls  no  punches.  One  almost  hopes  to  see 
a  disclaimer  during  the  credits:  "No  children  were  harmed  in 
the  making  of  this  film."  Araki  gave  each  of  his  youngest  actors 
a  specially  edited  script  and  through  careful  editing  and  block- 


October  2005  I  The  Independent    37 


ing,  he  shielded  them  from  the  film's  most  disturbing  elements. 
Still,  the  audience  experiences  a  frank  and  nuanced  portrayal  of 
their  encounters  with  a  pedophile. 

"I  wasn't  sure  how  [someone]  could  film  a  lot  of  the  scenes  in 
the  book,"  says  Heim.  "But  Gregg,  as  a  filmmaker  and  a  really 
expert  editor,  figured  out  a  way  to  present  the  film  so  that  the 
audience  certainly  thinks  they're  seeing  things  that  they  actual- 
ly aren't." 

The  adaptation  of  Mysterious  Skin  is  a  blueprint  for  how 
independent  producers  and  directors  transform  a  novel  into  a 
film:  It  proceeded  slowly  in  fits  and  starts  and  was  ultimately 
driven  to  theaters  by  the  engine  of  a  writer/director  who  cared 
passionately  about  the  book  and  producers  willing  to  take  a 
chance  on  difficult  or  risky  material. 

To  be  sure,  adaptations  are  popular  with  both  indies  and 
studios.  Books  often  have  a  built-in  following,  they  are  useful 


sales  tools  when  pitching  a  project  to  financiers  or  executives, 
and  they  contain  a  more  complete  and  finely  drawn  world  than 
most  screenplays  offer. 

Studios,  of  course,  Hoover  up  all  the  "sure  things":  the  Harry 
Potters,  Seabiscuits,  and  Da  Vinci  Codes.  They  also  frequently 
have  book  scouts  and  executives  whose  job  it  is  to  seek  out  like- 
ly properties  and  secure  them.  They  can  afford  to  buy  dozens  of 
options  and  pay  to  keep  them  alive  for  years  at  a  time.  Indies, 
in  contrast,  almost  never  have  the  budget  for  that  kind  of  long- 
term  investment. 

"I  don't  call  up  publishers  and  see  what's  new  that's  coming 
out,  which  producers  with  more  financing  might  do,"  says 


Keanu  Reeves  (left)  in  Thumbsucker,  which  was  based  on  Walter 
Kirn's  1999  novel  and  directed  by  Mike  Mills  (above) 
[photos  courtesy  of  Sony  Picture  Classics] 

Skalski,  who  produced  The  Station  Agent  (2003),  among  others, 
for  New  York's  Antidote  Films.  "But  books  are  seductive  and 
you  kind  of  can't  help  thinking  about  what  kind  of  films  they 
would  make." 

And  though  the  average  Variety  reader  might  have  reason  to 
believe  that  the  movie  rights  to  every  novel  are  snapped  up 
immediately  for  mind-boggling  sums,  agents  and  producers 
maintain  that  there  is  plenty  of  material  available  to  independ- 
ent producers. 

"I  certainly  do  big  movies,  but  as  time  goes  on,  adult  movies 
are  of  less  and  less  interest  to  studios,"  says  Ron  Bernstein,  a 
well-known  agent  with  ICM  in  Los  Angeles,  who  is  presumably 
speaking  of  grown-up  fare  like  Sideways  (2004),  not  Debbie 
Does  Dallas.  "You  take  a  book  where  it's  wanted." 

Indeed,  book  deals  illuminate  the  almost  completely  divergent 
business  models  of  studio  and  independently  financed  projects. 
"The  studios  are  risk  averse;  independents  like  risky,"  says 
Bernstein.  "That's  what  gets  their  audience  into  the  theaters.  If 
you've  got  something  dangerous,  studios  don't  want  it.  If  it's  off- 
beat, eccentric,  oddball — that's  all  for  the  independents." 

Independent  producers  also  frequently  mine  books,  like 
Mysterious  Skin,  that  may  not  be  hot  off  the  presses.  Heim's 
novel  took  a  decade  to  go  from  the  page  to  the  screen.  "There 
are  many  good  books  out  there  that  people  have  forgotten 
because  they're  not  in  the  public  eye,"  says  Anne  Carey  of  This 
Is  That  Productions  in  New  York  who,  along  with  her  partner 
Ted  Hope,  has  produced  a  number  of  literary  adaptations, 
including  the  September  release  Thumbsucker,  based  on  Walter 


38  The  Independent  I  October  2005 


(back  row)  Writer  Scott  Heim,  director  Gregg  Araki,  actors:  Brady  Corbet  (front  row)  Jeff  Licon,  Elisabeth  Shue,  Joseph  Gordon-Levitt 
and  Michelle  Trachtenberg  at  the  2005  Sundance  Film  Festival  screening  of  Mysterious  Skin  [photo  by  Jeff  Vespa/Wirelmage.com] 


Kirn's  1999  novel,  and  last  year's  The  Door  in  the  Floor,  which 
was  based  on  John  Irving's  A  Widow  for  One  Year. 

Literary  agent  Rosalie  Siegel  agrees.  "I'm  getting  options  for 
books  that  weren't  published  this  year,"  she  says.  "At  any  given 
time,  I  might  be  brokering  for  books  two,  five,  even  ten  years 
after  publication.  It's  just  a  question  of  being  tenacious  and 
aggressive  about  submitting  books." 

As  seductive  as  a  novel  might  be  to  a  filmmaker,  producers 
are  usually  wary  of  deals  that  hinge  upon  buying  book  rights, 
because  an  option  adds  an  expense  line  to  an  already  tight  budg- 
et. Options  become  more  expensive  each  year,  and  a  producer 
must  factor  that  variable  into  the  amount  of  time  he  or  she 
devotes  to  developing  a  project.  "You've  got  a  ticking  clock  for 
how  long  you're  going  to  control  [the  rights],"  says  Skalski. 
"You're  constantly  aware  that  if  you  don't  get  it  out  soon 
enough,  you  may  run  out  of  time.  That's  a  lot  of  pressure." 

As  a  result,  indie  producers  usually  wait  for  the  project  to 
come  to  them.  The  right  writer  and  director  are  crucial  to  put- 
ting a  deal  together.  "A  studio  will  option  a  book  because  they 
think  it's  a  good  property  and  then  they'll  find  a  writer  and  then 
a  director,"  says  Carey.  "I  can't  really  think  of  a  situation  in 
which  we  would  option  a  book  if  we  didn't  have  a  filmmaking 
partner  to  work  with.  [Putting  a  film  together  is]  an  expensive 
and  lengthy  process.  And  when  you  develop  for  a  filmmaker, 
you  have  a  point  of  view  and  a  commitment.  They'll  work  on  it 
'till  they  get  it  right." 

When  there  isn't  ample  money  in  the  budget,  having  a  team 


in  place — and  not  just  a  keen  interest  in  an  author's  work — can 
help  in  wooing  a  writer.  "It  gives  us  the  ability  to  go  to  the  agent 
and  the  author  and  say,  'We  have  a  particular  filmmaker  who's 
made  these  films  and  has  this  vision,'"  says  Carey.  "That  has 
proven  to  be  a  successful  formula  for  us." 

Knowing  the  "team"  is  of  paramount  importance  to  many  writ- 
ers because  when  they  sell  the  rights,  they  relinquish  control  of 
something  that  had  previously  been  entirely  their  creation.  "It's  my 
job  to  investigate  the  deal  for  my  clients,"  says  Siegel.  "I  get  as  much 
information  as  I  can  about  who  they  are,  who's  going  to  finance  it, 
what  their  ideas  are.  Authors  don't  have  creative  control,  so  we  try 
to  get  every  bit  of  information  we  can." 

Heim,  who  had  invested  several  years  of  his  own  career  into  a 
film  version  of  Mysterious  Skin,  ultimately  turned  the  reigns  over  to 
Araki  because  he  believed  in  the  filmmaker's  vision.  As  Araki  notes 
on  the  Mysterious  Skin  website,  the  movie  is  his  first  book  adapta- 
tion and  he  was  drawn  to  the  story  because  of  Heim's  skill  as  a 
writer.  "It's  really  the  only  piece  of  material  I've  ever  encountered 
that  I've  felt  passionate  and  excited  enough  about  to  devote  years  of 
my  life  to  making,"  he  writes. 

"Everyone  signed  on  to  the  project  because  they  believed  in,  and 
were  moved  or  excited  by,  the  story,"  says  Heim.  That  was  also  the 
reason  he  was  happy  with  the  project,  despite  the  fact  that  it  was 
not  particularly  lucrative.  "That's  a  very  different  experience  from  a 
huge  studio  blockbuster,  where  often,  I  think,  the  cast  or  crew  pret- 
ty much  know  going  in  that  it's  not  going  to  be  anything  close  to  a 
work  of  art,  but  the  paycheck  is  going  to  be  big." 


October  2005  I  The  Independent    39 


Julian  Fellowes  (right)  co-wrote  the  adapted  screenplay  of  Vanity  Fair,  which  was 
directed  by  Mira  Nair  (left)  [photo  courtesy  of  Focus  Features] 


Heim  is  not  alone.  "There  are  plenty  of  people  who  would 
rather  have  their  book  made  into  a  good  movie  rather  than  get- 
ting a  lot  of  money  up  front  and  being  embarrassed  by  what's 
made  of  their  work,"  says  Carey. 

Once  a  producer  has  made  a  commitment  to  a  book  project 
and  put  a  team  together,  the  book  becomes  an  invaluable  tool. 
It  can  help  with  everything  from  financing  to  production  and 
promotion.  "I  think  people  like  the  idea  of  a  movie  based  on  a 
book,"  says  Skalski  of  pitching  the  film  to  moneymen.  "It  can 
help  make  a  script  seem  more  weighty  or  prestigious." 

Perhaps  the  book's  most  useful  aspect  is  as  a  resource  for  the 
filmmaker.  It  is  like  a  manual  for  the  world  of  the  film,  much 
more  detailed  than  any  screenplay  could  ever  be.  "You  can 
always  go  back  to  it  and  reread  it,"  says  Carey.  "You  can  give  it 
to  the  production  designer,  you  can  give  it  to  the  [director  of 
photography],  to  the  costume  designer,  to  the  actors.  It  gives  a 
lot  of  depth  that  screenplays,  by  their  nature,  can't  give." 

The  film,  in  turn,  can  reincarnate  the  book,  introducing  it  to  a 
whole  new  audience.  It  is  not  unusual  to  see  repackaged  paper- 
back editions  of  books  made  into  movies.  William  Makepeace 
Thackery's  Vanity  Fair  was  published  complete  with  a  picture  of 
Reese  Witherspoon  on  the  cover  in  time  for  Mira  Nair's  2004 
adaptation.  When  Carey  worked  on  Ang  Lee's  Ride  with  the  Devil 
(1999),  she  noted  that  the  publisher  reissued  Daniel  Woodrell's 
Woe  to  Live  On  the  novel  on  which  it  was  based.  The  novel  had 
gone  out  of  print,  but  after  the  movie  it  found  new  life. 

"It's  terrific  publicity  for  the  book,"  says  Siegel,  who  relishes 
the  opportunity  to  leverage  a  film  deal  into  new  foreign  rights 
or  a  new  paperback  deal  for  her  clients. 

Occasionally,  publicists  try  the  reverse  process  as  well,  gin- 
ning up  a  novelization  of  a  film  as  a  tie-in  and  promotional 
device.  Miramax  tried  it  a  few  years  ago  when  they  launched 
their  book  division.  The  Pallbearer,  among  other  titles,  made  it 


to  shelves.  Novelist  Jonathan  Ames  adapted 
MTV  films'  200  Cigarettes  for  that  compa- 
ny's book  division.  He  did  it  without  seeing 
the  film,  he  says,  and  it  took  him  17  days. 
"[I  made]  the  plot  a  little  more  logical, 
adding  thoughts  to  the  characters,  and  I 
wrote  it  in  the  third  person,  which  I  had 
never  done  in  my  own  work."  There  are  few 
examples  of  this  phenomenon  outside  of 
science  fiction  franchises,  however,  which 
suggests  other  marketing  tools  have  fared  better. 

Ultimately,  filmmakers  all  face  the  same  tricky  task  in 
adapting  a  book,  be  it  Ride  with  the  Devil  or  the  Da  Vinci  Code 
Whether  the  novel's  fan  base  sells  more  movie  tickets  or  the 
film  moves  paperbacks  off  the  shelves,  a  writer  and  director's 
biggest  challenge  remains  translating  the  written  word  into 
the  moving  image. 

"In  a  book,  you  have  access  to  the  internal  monologues,  to 
the  internal  thoughts  of  the  characters,"  says  actor  and 
screenwriter  Clark  Gregg,  who  recently  adapted  a  novel  by  a 
well-known  author. 

It's  hard  to  resist  the  urge  to  incorporate  the  language  of 
the  book  into  the  screenplay.  "A  lot  of  times,  if  there's  a  nar- 
rator or  it's  written  in  the  first  person,  it's  extremely  tempt- 
ing to  keep  that  voice,  especially  if  it's  good  writing,"  says 
Gregg.  That's  a  pitfall,  he  notes,  since  a  narrator's  voice  tends 
to  distance  the  audience  and  bring  them  out  of  the  experi- 
ence of  watching  a  movie. 

"With  screenplays,  so  much  depends  on  the  actors  taking 
this  thinner  version  of  the  story  and  really  bringing  it  to  life," 
says  Ames,  who  has  also  adapted  his  own  novel,  Wake  Up, 
Sir!,  for  Ben  Stiller's  company,  Red  Hour  Films.  "[They  must 
convey]  the  pages  of  explanation  that  might  have  been  in  the 
novel  with  just  the  look  of  weariness  in  their  face." 

For  his  part,  Araki  made  use  of  more  cinematic  tools  to 
bring  Heim's  words  to  the  screen.  "Because  the  subject  mat- 
ter is  so  dark,  I  wanted  the  film  to  be  incredibly  beautiful  and 
lush,  the  cinematic  equivalent  of  the  poetic  language  used  in 
the  novel,"  he  writes. 

To  know  whether  it  worked,  you'll  probably  have  to  read 
the  book  and  see  the  movie  for  yourself.  No  word  yet  on 
which  should  come  first.    * 


40  The  Independent  I  October  2005 


POLICY 


POLITICS 

and 

POLICY 


in 

DEEP  FOCUS 


A  new  report  examines  the  future  of  independent  filmmaking 


By  Matt  Dunne 

During  last  year's  heated  presiden- 
tial debates,  hundreds  of  thou- 
sands of  web-sawy  Americans 
saw  Will  Ferrell  impersonate  George  W. 
Bush  flubbing  takes  of  a  campaign  ad  at 
his  Texas  ranch.  Straight  Talk,  the  four- 
minute,  low-budget  film,  quickly  became 
the  subject  of  conversation  among  mil- 
lions, both  politically-attuned  as  well  as 
disengaged  viewers.  The  piece  inspired 
political  discussion  blogs;  conservative 
groups    derided    it   on    prime-time    talk 


shows.  But  despite  its  wide-ranging 
impact,  the  short  was  never  shown  in  a 
theater  nor  made  into  a  DVD  for  distri- 
bution. Distributed  online  and  funded 
by  the  political  action  group  America 
Coming  Together  (ACT),  Straight  Talk 
and  similar  projects  that  utilize  alterna- 
tive distribution  networks  may  just  rep- 
resent the  future  of  independent  media. 
At  least  this  is  the  notion  proposed  by 
Deep  Focus,  A  Report  on  the  Future  of 
Independent  Media,  written  by  Andrew 


k 


\ 


October  2005  I  The  Independent  41 


13TH  JAMES  RIVER  FILM  FESTIVAL 


VIRGINIA'S  FESTIVAL  FOR  THE  INDEPENDENT-KINDED 
Richmond,  Virginia  *  March  20-26,  2006 
Up  to  $2,000  in  cash/prizes! 


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Deadline:  January  20,  2006 


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NEW  DAY  FILMS  is  the  premiere  distribution 
company  for  social  issue  media  owned  and 
managed  by  filmmakers.  We  have  distributed 
documentary  film  and  video  for  over  30  years 
to  non-theatrical  markets.  With  a  strong  com- 
mitment to  diversity  within  our  membership 
and  the  content  of  the  media  we  represent, 
we  welcome  your  interest! 

www.newday.com  •  join@newday.com 


Or  call  Heidi  Emberling  650.347.5123 


Seeking  energetic 
independent  makers 
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Submit  film  by:  October  15th 
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Blau  and  produced  by  the  National 
Alliance  for  Media  Arts  and  Culture. 
The  book  provides  a  rare,  in-depth  look 
at  the  future  of  independent  film,  a 
future  neither  bright  nor  bleak,  but  fun- 
damentally different  from  its  past. 
Rather  than  talk  exclusively  to  people 
inside  the  indie  community — who  are 
undoubtedly  too  close  to  see  the  big  pic- 
ture— Blau  interviewed  futurists  in  mar- 
keting, sociology,  technology,  politics, 
and  media,  including  practitioners  and 
academics  who  study  trends  in  inde- 
pendent media.  Blau's  team  also  dis- 
cussed the  future  of  independent  film- 
making with  the  leaders  of  Bay  Area- 
based  independent  media  organizations. 
The  report  concludes  that  there  are  two 
major  forces  that  will  determine  the 
future  of  independent  film:  the  use  of 
the  medium  (both  production  and  dis- 
tribution), and  the  social  and  political 
culture  in  the  United  States. 

According  to  Deep  Focus,  broadband 
will  become  the  standard  mechanism  for 
motion  media  distribution,  just  as  the 
distribution  of  text  and  images  has 
become  largely  electronic.  Barriers  to 
entry  are  incredibly  low  in  the  broadband 
world,  particularly  compared  with  tradi- 
tional distribution  methods.  Amateurs 
will  be  able  to  deliver  content  to  a  massive 
audience  and  as  a  result,  the  production 
costs  will  plummet  and  the  amount  of 
total  motion  media  in  existence  will 
increase  exponentially.  Also,  people  will 
be  able  to  customize  their  viewing,  no 
longer  limited  by  what  the  film  house, 
video  store,  or  cable  company  offers. 

Distribution's  evolution  depends  on 
the  increasingly  politicized  questions  of 
broadband  access.  In  rural  America,  the 
fight  for  access  is  ongoing,  and  there  are 
battles  over  availability  in  urban  areas,  as 
well.  Backed  by  the  current  administra- 
tion, the  courts  have  continued  to  pro- 
tect the  right  of  utilities  to  exclude  other 
providers.  No  other  company  can  use 
the  Broadband  infrastructure  to  deliver 
independent  or  less  expensive  content. 
With  the  evolution  of  wireless  technolo- 
gy, the  FCC  has  prevented  deployment 
by  continuing  to  support  private  owner- 
ship of  the  particular  frequency  spec- 
trum necessary  for  new  providers  to 
enter  a  market.    Now  cities   that   have 


42  The  Independent  I  October  2005 


According  to  Deep  Focus,  broadband  will  become  the  standard 

mechanism  for  motion  media  distribution,  just  as  the  distribution  of 

text  and  images  has  become  largely  electronic... 

people  will  be  able  to  customize  their  viewing,  no  longer  limited  by  what 

the  film  house,  video  store,  or  cable  company  offers. 


responded  to  expensive  or  poorly  serviced 
internet  providers  by  installing  public 
broadband  are  being  attacked  by  cable 
companies.  If  internet  access  becomes 
consolidated,  the  realization  of  this  open 
marketplace  of  ideas  and  direct  com- 
merce could  come  to  a  screeching  halt. 

The  Deep  Focus  report  also  suggests 
that  the  ability  o  to  customize  what  we 
consume,  combined  with  increased  polit- 
ical polarization,  could  lead  to  the  cre- 
ation of  more  overtly  political  independ- 
ent films.  The  recent  financial  success  of 


political  documentaries  like  Bowling  For 
Columbine  (2002),  Fahrenheit  9/11 
(2004),  Super  Size  Me  (2004)  and 
Control  Room  (2004)  suggest  a  trend  in 
that  direction.  Outfoxed:  Rupert 
Murdoch's  War  on  Journalism  (2004), 
which  started  as  a  DVD  sold  largely 
through  Amazon,  later  made  the  reverse 
jump  to  a  major  distribution  deal,  sug- 
gesting what  may  happen  when  more 
films  go  directly  to  audiences. 
Furthermore,  the  international  interest  in 
United  States  politics  and  the  ubiquitous 


Our  9th  annual  "Mag"  welcomes 
all  genres,  all  lengths,  in  competition 
for  awards.  The  "Mag"  was  founded 
by  Ron  Tibbett  to  celebrate  his  vision 
of  Independent  film  in  Mississippi.  It 
has  been  called  the  most  filmmaker 
friendly  festival  by  many  of  our  past 
contributers.  Entry  fees  are  $25  feature, 
$15  shorts  and  $10  student  film.  We 
are  proud  partners  with  Rhode  Island 
International  Film  Festival,  Tupelo 
Film  Festival,  Crossroads  Film  Festival 
and  Indie  Memphis. 


nature  of  the  internet  could  create  larger 
audiences  at  an  even  faster  pace.  Websites 
that  serve  as  convening  locations  for  like- 
minded  individuals  could  produce  even 
more  sophisticated  channels  for  distribu- 
tion. MoveOn. org's  promotion  of 
Fahrenheit  9/11  is  a  good  example  of  the 
merger  between  distribution  and  advoca- 
cy groups  not  bound  by  geography. 

But  Straight  Talk  is  different.  No  one 
paid  to  see  it.  In  fact,  ACT,  which  paid 
for  the  full  production  of  the  piece,  used 
its  website  to  make  it  easier  for  more  peo- 


Congrats  to  all  2005  Mag  winners  including  Aruna  Naimji's  "One  Balloon", 
E.S.  Wochensky's  "Shoot  the  Moon",  Joe  Scott's  "Ocean  Front  Property" 
and  Joel  Fendelman's  "Tuesday". 

We  look  forward  to  seeing  you  down  in  the  deep  South. 


Entry  Forms:  Download  at  www.magfilmfest.com 
or  write  to:  Festival  Director 

2269  Waverly  Drive 

West  Point,  MS  39773 


Phone:  (662)  494-5836 
Fax:  (662)  494-9900 


llsi  TRUTH  IN  MOTION: 

;;;;:  a  retrospective  of 
""ikmemquin  films 

(177     ■  * 


3SDAY,  October  27.  7pm 
Thumbs  Down  (1886,  excerpt) 
Hum  255  (isbs) 

Trick  Bag  um) 

New  Americans  (2004,  excerpt) 

Thursday,  November  3,  7pm 

Home  lor  Lite  (mi) 

Chicago  Maternity  Center  Story  (\m) 

HSA  Strike  75  (1975.  excerpt) 

Refrigerator  Mothers  (2002) 

Thursday.  November  IO.  7pm 

Taylor  Chain  I:  A  Story  in  a  Union  Local  (isai) 

The  Last  Pullman  tar  (1 983) 

What's  Happening  at  Local  70  (1975) 

Solub:  Late  Works  are  the  Catastrophes  (2D04) 

-'3AY,  Nov.    12,   10AM-I2PM- 

Master  Class  with  Jerry  Blumenthal  and 
Gordon  Quinn.  founders  ot  Kartemquin  Films 

SATURDAY,   NOV.    12,    1:30PM-3PM' 

PANEL:  Truth  in  Motion:  Documentary  Film  in  the 
United  Slates  with  Miriam  Hansen  (University  of 

Chicago),  Tom  Gunning  (University  of  Chicago). 
Stuart  Klawans  (The  Nation),  and  Bill  Nichols 
(San  Francisco  State  University) 


ALL  EVENTS  ARE  FREE  AND  OPEN  TO  THE  PUBLIC. 

"REGISTRATION  REQUIRED  FOR  EVENTS  HEIO  ON  NOVEMBER  11-12 

HICAGO.EDU 
vWW.KAf?TEMQUIN.COM 


Sponsored  by  the  UnlwraHy  o*  Chicago  Human  Rights  Program,  Franke 
InatKute  In  As  HumanHbs  the  Committee  on  Cinema  and  Media  Studies, 
'tie  Filn  Studies  Center,  and  The  Sdiool  of  the  Art  Institute  el  Chicago 
wrlh  the  support  of  Ttie  Puhllc  Square 


October  2005  I  The  Independent  43 


pie  to  view  it  for  free.  Today,  film  revenue 
is  directly  linked  to  viewership  which  is 
directly  linked  to  delivery  of  message. 
Blau  posits  that  future  socio-political  suc- 
cess of  films  may  be  completely  separate 
from  viewer-related  sales. 

He  also  suggests  the  independent  film 
community  consider  "reorganizing  fund- 
ing streams."  Although  government 
entities  have  become  less  willing  to  sup- 
port independent  film,  the  cost  of  distri- 
bution and  production  is  falling,  which 
may  lead  to  an  increase  in  foundations 
and  organizations  that  are  willing  to  fund 
projects.  There  may  be  an  alignment 
between  the  film  industry  and  a  new  gen- 
eration of  dot-com-generated  wealth: 
Individuals  may  be  more  interested  in 
underwriting  entire  projects  since  a 
smaller  amount  of  money  can  cover  a 
larger  portion  of  the  cost.  Case  in  point: 
eBay  co-founder  Jeff  Skoll  recently  creat- 
ed a  development  company  to  produce 
socially  relevant,  commercially  viable 
films. 

These  economics  may  also  lead  to 
more  political  interest  group-funded 
projects.  ACT  would  not  have  spent  mil- 


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lions  of  dollars  buying  minutes  of  prime- 
time  television  for  a  piece  aimed  at  a 
demographic  which  is  historically  unlike- 
ly to  vote,  but  they  would  put  it  online 
for  free.  As  a  result,  the  film  didn't  have 
to  conform  to  conventional  lengths — it 
was  shorter  than  a  full-length  but  longer 
than  a  30-second  spot. 

Similarly,  MoveOn.org  was  willing  to 
underwrite  Uncovered:  The  War  in  Iraq 
(2004),  a  film  that  documented  evidence 
that  the  Bush  administration  wanted  to 
go  war  with  Iraq  immediately  following 
9/11.  The  distribution  effort  started  with 
house  parties  convened  by  MoveOn.org 
where  volunteers  watched  the  film  as  a 
group,  not  a  great  sales  model,  but  the 
buzz  from  this  effort  eventually  led  a  dis- 
tributor to  send  the  piece  out  through  the 
usual  markets.  Imagine  il  technology  had 
evolved  to  the  point  where  a  long  piece 
could  be  easily  streamed  over  the  internet 
for  free.  The  Deep  Focus  report  suggests 
that  such  experiments  could  lead  to  a 
more  investors  willing  to  give  more  in 
order  to  produce  wider  content. 

Though  an  increase  in  films  funded  by 
political    organizations    could    fuel    the 


indie  industry,  it  also  gives  us  pause. 
With  public  and  traditional  foundation 
resources,  filmmakers  have  generally  felt 
free  to  follow  their  own  artistic  or  politi- 
cal visions.  In  this  new  world  of  individ- 
ual or  interest  group-funded  projects, 
where  much  of  the  risk  is  covered 
upfront,  there  may  be  a  propensity  to 
write  the  film  to  the  interests  of  the  spon- 
sor. Will  Ferrell's  most  awkward  moment 
in  Straight  Talk  is  when  he  makes  the  bla- 
tant pitch  for  ACT,  almost  undermining 
the  power  of  the  entire  piece. 

The  future  of  independent  filmmak- 
ing might  still  seem  uncertain,  but 
Deep  Focus  succeeds  in  posing  thought- 
ful questions  to  a  diverse  range  of 
experts.  The  report  proves  that  policy 
decisions,  particularly  those  related  to 
broadband  access,  will  be  critical  in  the 
near  future,  and  that  politics  in  general 
have  the  potential  to  drive  the  rele- 
vance— and  potentially  the  economic 
model — of  independent  film  into  the 
next  decade,    if 


The       report 
www.  namac.  org. 


liable 


at 


\fltLtLfr6.  14  i.  S^oC'-S  &ft ,  lud  /Xe  Qjdu.  OixJt  h/oi^A  iLYCfifr.     Gustave  Flaubert 


James  A.  Michener  Center  for  Writers 

MFA  IN  WRITING 


Combine  SCREEN  WRITING 
with  playwriting,  fiction, 

or  poetry  in  our  unique 
interdisciplinary  program  in 
Austin,  Texas:   the  country's 

third  coast  for  film  arts. 


Fellowships  of  $20, Cw  annually  for  three  years. 
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UNIVERSITY  OF  TEXAS  AT  AUST 


44  The  Independent  I  October  2005 


LEGAL 


What  Rolled 

Up 

Must 

Come  Down 


By  Fernando  Ramirez 


W 


ritten  by?  Created  by? 
Screenplay  by? 

Screen  credit  can  define  a  writer's 
career — in  fact,  the  exact  words  that 
rolled  up  the  screen  after  his/her  last  proj- 
ect often  determines  a  writer's  next  gig 
and  salary.  Given  the  time  and  high 
stakes  involved  in  writing  for  film  and 
television,  especially  when  little  compen- 
sation is  involved,  credit  becomes  one  of 
the  most  important  parts  of  the  con- 
tract— perhaps  more  than  any  other 
clause.  As  a  result,  the  terms  are  often 
complicated  and  heavily  negotiated. 

The  Writers  Guild  of  America  (WGA) 
has  had  the  right  to  determine  screen- 
writing  credit  since  its  first  collective  bar- 
gaining agreement  with  a  Hollywood  stu- 
dio in  1942.  The  WGA  created  a 
Minimum  Basic  Agreement  in  part  to 
prevent  what  was  becoming  a  common 
trend  in  Hollywood:  studio  executives 
offering  writer  credits  in  exchange  for 
favors  from  company  secretaries,  rela- 
tives, and  friends  who  had  little  or  noth- 
ing to  do  with  the  project.  The  WGA 
agreement  is  still  used  by  most  profes- 
sional screenwriters  to  prevent  producers 
or    studios    from    subjectively    deciding 


A  legal  guide  to 

screenwriting 

credits 


what  type  of  credit  to  assign,  how  the 
credit  will  appear  on  screen,  its  place  in 
the  sequence  of  credits,  and  its  appear- 
ance in  ads,  publicity  materials,  and  other 
company  displays  of  credits. 

According  to  the  agreement,  the  pro- 
duction company  has  to  send  the  WGA 
and  the  writer(s)  a  tentative  proposal  of 
the  writing  credits  with  a  copy  of  the 
final  script.  If  the  writer  disagrees  with 
the  proposal,  he  or  she  can  protest  in 
writing.  If  the  production  company  and 
the  writer  can't  come  to  an  agreement, 
the  WGA  serves  as  an  arbitrator  and 
makes  a  determination.  If  a  writer  dis- 
agrees with  the  WGA's  final  determina- 
tion, the  writer  must  challenge  it  through 
the  courts.  However,  in  most  high-profile 
cases  in  which  writers  have  challenged 
screen  credits,  the  courts  have  agreed 
with  the  WGA's  final  determination. 

One  such  case  occurred  during  the 
making  of  Beverly  Hills  Cop  II  (1987). 
Paramount  Pictures  hired  a  screenwriter 
to  draft  the  script,  but  after  the  film  was 
completed,  the  WGA  determined  that 
this  writer  should  share  "Screenplay  by" 


credit  with  another  writer,  and  that  a 
"Story  by"  credit  could  go  to  Eddie 
Murphy.  The  original  writer  then  sued 
the  WGA  in  the  California  courts, 
claiming  he  alone  deserved  both 
"Screenplay  by"  and  "Story  by"  credit. 
The  courts  found  in  favor  of  the  WGA. 
Even  if  the  project  is  not  WGA — 
either  because  the  writer  is  not  a  WGA 
member  or  the  filmmaker's  company  is 
not  a  WGA  signatory  (essentially  a  pro- 
ducer who  agrees  to  abide  by  WGA 
rules) — a  similar  notice  and  approval 
requirement  (such  as  the  one  below)  can 
be  inserted  into  the  agreement. 

"Before  the  screen  credits  for  screen 
authorship  are  finally  determined,  the 
Production  Company  will  send  a  written 
notice  to  each  writer  who  is  a  substantial 
contributor  to  the  screenplay.  This  notice 
will  state  the  Production  Company's  choice 
of  credits  on  a  tentative  basis,  together 
with  the  names  of  the  other  substantial 
contributors  and  their  addresses  last 
known  to  the  Production  Company.  " 

If  using  WGA  agreement  terms 
becomes  complicated  or  tedious,  a 
writer  can  demand  that  credit  be 
accorded   to   him/her   per   the   WGA 


October  2005  I  The  Independent     45 


Do  you  want  an 

attorney  who 

watches  movies, 

or  an  attorney  who 

makes  them? 


It's  4  AM . . .  you're  worrying  if 
the  script  is  tight  enough... 
if  your  casting  director  can  find 
a  last-minute  replacement.... 
if  you've  violated  any  SAG 
rules...  if  you  have  enough  cash. 

Been  there,  done  that. 

Mark  Costello,  Esq. 

Wrote,  produced  and  sold  a 
feature  length  comedy. 

Film  production  counsel  to 
independent  filmmakers. 

Municipal  counsel  on 
Woodstock  '99. 

Member  of  the  Executive 
Committee  of  Entertainment, 
Arts  and  Sports  Law 
Attorneys. 

>m  W4  Boylan.Brown, 

■  ■<  Code,  Vigdor&  Wilson,  llp 

I   •       ATTORNEYS  AT  LAW 

Office  (585)  232-5300 

Fax  (585)  238-9055 
mac@boylanbrown.com 


Minimum  Basic  Agreement,  as  stated 
below: 

"Producer  agrees  that  the  Writer's  credits 
shall  be  determined  and  accorded  pursuant 
to  the  provisions  of  the  WGA  Agreement  in 
effect  at  the  time  of  such  determination.  " 

All  screenwriters  should  be  familiar 
with  the  following,  often  non-negotiable, 
terms  and  issues  in  order  to  assure  that 
they  get  the  greatest  and  fairest  recogni- 
tion for  their  work. 

WRITTEN  BY:  The  writer  created  the 
story  concept  and  wrote  the  screenplay. 

STORY  BY:  The  writer  created  the 
story  (i.e.,  the  plot,  theme,  main  charac- 
ters, etc.). 

SCREENPLAY  BY:  The  writer  wrote 
the  screenplay  based  on  someone  else's 
concept. 

TELEPLAY  BY:  Writer  wrote  the 
script  for  a  television  program  based  on 
someone  else's  concept. 

CREATED  BY  Typically  designated 
as  credit  for  the  creators  of  television  pro- 
grams, where  bonuses  and  royalties  for 
episodes  are  involved,  and  the  show's  suc- 
cess will  determine  if  co-creators  can 
become  an  executive. 

ON       SCREEN       PLACEMENT: 

Generally,  the  writer's  screen  credit 
should  be  placed  next  to  the  director's 
credit.  If  the  writing  credits  are  in  the 
main  titles  (i.e.  before  the  film  starts), 
they  appear  on  a  title  card  immediately 
preceding  the  card  on  which  the  direc- 
tor's credit  appears.  If  the  writing  credits 
appear  in  the  end  titles  (i.e.  before  the 
film  ends),  they  appear  immediately  fol- 
lowing the  director's  credit. 

PAID   ADVERTISING:   The   WGA 

generally  requires  writer  credits  to  appear 
in  advertising  and  publicity  on  par  with 
the  director  and  producer  credit. 

SIZE  OF  CREDIT:  The  writers  cred 
it  should  be  equal  in  size  and  type  to  any 
other  credit. 


MERCHANDISE:  Credit  on  mer- 
chandising items  in  connection  with  the 
film — such  as  soundtrack  liner  notes 
and/or  DVD  packaging — should  bear 
the  writer's  credit. 

ADDITIONAL  WRITERS:  It  is  not 

uncommon  for  a  number  of  different 
writers  to  revise  a  script.  The  writer's 
agreement  should  limit  the  number  of 
individual  writers  who  may  receive  credit 
to  a  maximum  of  two  or  three.  This  is 
especially  important  in  the  event  that  the 
writer  is  entitled  to  a  bonus  based  on  a 
sole  "Screenplay  by,"  "Teleplay  by," 
and/or  "Created  by"  credit. 

STUDIO  OR  PRODUCTION 
EXECUTrVES:  In  order  to  preempt  the 
practice  or  temptation  of  any  abuse  of 
screenplay  credits,  production  executives 
are  usually  excluded  from  screenplay 
credit  unless  the  executives  wrote  the 
screenplay  exclusively  by  themselves. 

MOST  FAVORED  NATIONS:  If  the 

agreement  is  not  subject  to  WGA  rules, 
the  writer  could  use  a  "most  favored 
nations"  clause  stipulating  that  if  another 
individual  or  company  involved  with  the 
project  (i.e.,  writer,  director,  producer) 
gets  a  more  favorable  credit  term  in  their 
agreement  (larger,  bolder,  longer  on- 
screen duration,  main  title,  end  title, 
etc.),  then  the  writer  will  automatically 
be  entitled  to  those  same  credit  terms. 

INJUNCTrVE  RELIEF:  An  injunc 
tion  by  a  writer  against  a  production 
company  or  studio  could  halt  produc- 
tion, distribution  and/or  exhibition  of 
the  film.  To  avoid  that  from  happening 
due  to  a  producer's  inadvertent  failure  to 
grant  the  writer  his  or  her  credit  as  stipu- 
lated in  the  agreement,  producers  should 
include  a  clause  with  language  such  as: 

"No  casual  or  inadvertent  failure  by  the 
Producer  to  comply  with  the  terms  of  this 
section  or  any  other  clause  in  connection 
with  Writer's  credit  herein  stipulated,  shall 
be  deemed  a  breach  of  contract,  or  entitle 
Writer  to  injunctive  relief.  " 

More  information  at  www.wga.org.    'k 


46  The  Independent  I  October  2005 


the  Documentary  Doctor 

JL.    AT 


By  Fernanda  Rossi 

Dear  Doc  Doctor: 

Nobody  seems  to  like  my  film — they 
say  it's  unclear  and  hard  to  follow.  Why 
aren't  they  getting  the  story? 

If  people  are  "not  liking  your  story," 
you  have  to  accept  it.  If  people  are  "not 
getting  your  story,"  you  have  to  work  on 
it.  Knowing  the  difference...  as  priceless 
as  a  packed  theatre. 

It's  tempting  to  think  that  the  reason 
somebody  didn't  like  your  film  was 
because  he/she  didn't  get  it.  It's  easier  to 
dismiss  this  kind  of  critique  than  to  make 
changes  to  your  documentary.  Others 
might  argue  that  if  nobody  gets  it,  it's 
because  you're  ahead  of  your  time,  which 
is  possible,  but  not  as  common  as  we'd 
like  to  think.  As  filmmakers,  we  are 
responsible  for  the  entire  process  of  com- 
munication, from  delivery  of  the  story  or 
message,  to  the  audience's  understanding 
and  appreciation  of  that  story.  In  other 
words,  if  for  any  reason  nobody  "gets  it," 
you  have  work  to  do. 


Let's  define  "nobody."  How  many 
nobodies  are  we  talking  about?  Is  it  many 
people  in  a  badly-targeted  test  screening, 
or  just  one  person,  but  one  you  really  care 
about?  Knowing  the  demographics  of 
your  unenthusiastic  audience  can  help 
you  assess  the  problem —  or  figure  out  if 
you're  just  miscalculating  prospective 
viewers. 

Here's  an  experiment:  Choose  three 
consecutive  scenes  in  your  documentary. 
Write  down  the  objective  of  each  scene. 
Ask  someone  who  is  your  ideal  viewer  to 
define  the  main  points  of  those  scenes, 
and  check  his/her  answers  against  your 
notes. 

If  your  objective  in  each  scene  is  not 
clear,    audiences   are   left   to    pick   and 


choose  what  to  follow  in  the  story.  This 
mistake  over  the  course  of  a  90-minute 
film  amounts  to  a  significant  cumulative 
error.  Audiences  will  eventually  fall 
asleep,  walk  out,  or  feel  anxious  about 
figuring  out  the  story. 

Repeating  the  exercise  above  for  all  the 
scenes  in  the  film  can  help  you  identify 
why  and  where  the  objective  is  not  com- 
ing through  in  each  scene.  Are  you  giving 
too  much  on-camera  time  to  a  secondary 
character?  Are  lesser  issues  conveyed  in  a 
more  memorable  manner  than  the  main 
issues?  Once  each  scene's  objective  is  loud 
and  clear,  you  can  check  the  order  of 
those  scenes.  Some  shuffling  might  be 
needed.  Do  another  test  screening  and 
enjoy  the  difference! 

Dear  Doc  Doctor: 

I  have  a  lot  of  ideas  for  a  documen- 
tary— how  do  I  decide  which  idea  to 
go  with,  and  how  do  I  develop  a  story 
out  of  that  idea? 

Choosing  which  ideas  to  pursue  and 


October  2005  I  The  Independent    47 


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which  stories  to  tell  is  where  all  film- 
making starts.  You  have  a  very  impor- 
tant decision  ahead  of  you  so  before  you 
pull  out  the  latest  box  office  numbers 
and  make  vector  calculations  of  the 
future,  I  recommend  you  test  your  pas- 
sion. 

Write  down  all  your  ideas  on  separate 
index  cards.  Lay  them  out  on  the  floor 
and  build  a  pyramid,  with  the  idea  that 
you  like  the  most  at  the  very  top.  Try  to 
imagine  which  one  of  these  ideas  you 
would  enjoy  thinking  about,  shooting, 
and  editing  every  day  for  the  next  (at 
least)  three  years.  An  idea  that  intrigues 
and  amazes  you  will  do  the  same  for 
your  audience. 

While  shuffling  your  cards,  you  may 
be  happy  to  discover  that  ideas  for  dif- 
ferent films  are  actually  just  different 
angles  of  the  same  overall  concept.  Feel 
free  to  redo  the  cards  to  illustrate  these 
changes. 

After  you  decide  on  one  or  two  ideas, 
ask  yourself  if  these  ideas  can  evolve  into 
stories.  And  can  those  stories  in  turn  be 
told  with  images  and  sound?  Since  film- 
making is  such  an  expensive  and  time- 
consuming  form,  you  have  to  be  really 
sure  that  the  story  is  worth  telling  in  this 
medium. 

To  check  for  story  development 
potential,  ask  yourself  as  many  questions 
as  possible  about  each  idea.  If  you  run 
out  of  ink  and  paper,  then  there  is 
enough  material  for  a  film.  Next  take 
imaginary  photographs  of  your  imagi- 
nary story.  Are  you  overwhelmed  by 
images  or  can  you  not  get  past  the  still 
photo  for  the  poster  of  the  film?  How 
about  sound — can  you  hear  many  peo- 
ple commenting  or  do  you  hear  a  voice- 
over  explaining  abstract  concepts? 

These  preliminary  exercises  can  help 
you  get  started  in  asking  core  questions 
about  your  future  documentary. 
Marketability,  comparative  financial 
analysis  of  similar  films,  and  box  office 
totals  are  all  equally  important  numbers. 
But  when  the  work  has  to  be  done  day 
in  and  day  out,  there  is  only  one  num- 
ber that  really  matters:  one-self.    *k 


48  The  Independent  I  October  2005 


Compact,  Versatile,  Portable. 

Hi-def.  Digital.  It  means  working  smaller  and  lighter.  With  an  even 
higher  premium  on  quality.  That's  why  Lowel,  the  world  leader  in 
location  lighting,  has  a  whole  range  of  easy-to-carry  digital- 
friendly  kits.  Their  ease  of  use  and  versatility  are  the  perfect 
match  for  your  new  way  of  shooting. 

The  kits  feature  a  variety  of  compact,  light-weight  lights  and 
accessories,  many  with  our  Rifa  collapsible  soft-light  that  sets  up 
in  less  than  a  minute. 

Speed.  Reliability.  Value.  It  all  goes  together.  m 


800-334-3426   www.lowel.com 


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DOMESTIC 

ASPEN  SHORTSFEST,  April  5-9,  CO 
Deadline:  Nov.  4,  Dec.  14  (final).  Fest  Is  a 
premiere  int'l  competitive  showcase  for 
short  films  (30  mins  &  less).  Fest  seeks 
entries  of  originality,  integrity  &  technical 
excellence.  Cats:  short,  animation,  chil- 
dren, doc,  student.  Formats:  35mm, 
16mm,  Beta  SP,  70mm.  Preview  on  VHS 
or  DVD.  Entry  Fee:  $35,  $45,  $55  (final). 
Contact:  Ryan  Van  Bidder,  (970)  925-6882; 
fax:  925-1967;  shortsfest@aspenfilm.org; 
www.aspenfilmorg. 

BARE  BONES  INT'L  INDEPENDENT  FILM 
FESTIVAL,  April  17-13,  OK.  Deadline:  Nov. 
1;  Dec.  31;  Jan. 26  (final).  Projects  budget- 
ed for  less  than  a  million  dollars  are  eligi- 
ble to  enter  the  fest.  Seven  days  of 
screenings,  workshops,  screenplay  read- 
ings, location  tour,  youth  film  projects. 
Cats:  feature,  doc,  short,  animation, 
experimental,  script,  music  video,  stu- 
dent, youth  media.  Awards:  Auteur  of  the 
Year;  Audience  Choice  Award;  Grand  Jury 
Awards.  Formats:  35mm,  16mm,  Most 
Video  formats.  Entry  Fee:  $20-$50. 
Contact:  Shiron  Butterfly  Ray;  (918)  616- 
1 335;  barebonesfilmfestival@yahoo.com; 
www.barebonesfilmfestival.com. 

BIG  SKY  DOC  FILM  FESTIVAL,  Feb  16-22, 
MT.  Deadline:  Sept.  1,  Nov.  1  (final).  Cats: 
doc,  short.  Formats:  35mm,  DVD,  Mini- 
DV,  DVCam.  preview  on  VHS  or  DVD. 
Entry  Fee:  $20  (shorts);  $30  (features). 


Contact:  Doug  Hawes-Davis;  (406) 
728-0753;  bigsky@highplainsfilms.org; 
www.bigskyfilmfest.org. 

BLACK  MARIA  FILM  FESTIVAL,  January 
June,  NJ.  Deadline:  Nov.  20.  The  Black 
Maria  seeks  to  "identify,  exhibit  &  reward 
compelling  new  independent  media, 
reach  audiences  in  a  wide  variety  of  set- 
tings nationwide,  &  advocate  exceptional 
achievement  that  expands  the  expressive 
terrain  of  film  &  video."  Formats:  35mm, 
16mm,  1/2",  super  8,  DVD.  Preview  on 
VHS.  Entry  Fee:  $35  (shorts,  30  mm.  or 
less);  $45  (features,  30-70  min.).  Contact 
John  Columbus,  Fest  Dir.;  (201)  200-2043 
fax:  200-3490;  blackmanafest@aol.com 
www.blackmanafilmfestival.com. 

CHICAGO   ASIAN   AMERICAN   SHOWCASE, 

March  31 -April  9,  IL.  Deadline:  Oct.  31. 
Chicago's  annual  Asian  American  film/arts 
fest,  presented  by  Foundation  for  Asian 
American  Independent  Cinema  &  The 
Gene  Siskel  Film  Center.  Seeking  works 
by  and/or  about  Asian  Americans. 
Founded:  1996.  Cats:  feature,  doc,  short. 
Formats:  All  formats  accepted.  Preview 
on  VHS  (NTSC).  Entry  Fee:  $20  (payable  to 
FAAIM).  Contact:  c/o  FAAIM;  (312)  758- 
4983;  tim@faaim.org;  www.faaim.org. 

CINEQUEST  FILM  FESTIVAL,  March  1-12,  CA. 
Deadline:  Oct  31.  Founded  in  1990, 
"Maverick  Filmmaking"  is  annual  theme 
of  fest,  which  showcases  an  eclectic  mix 
of  indie  films.  Competitive  for  features, 


docs  &  shorts.  Maverick  features  &  shorts 
of  artistic,  social  or  stylistic  merit  eligible. 
Fest  is  a  qualifying  fest  for  the  Short  Films 
category  for  the  Academy  Awards®. 
Founded:  1990.  Cats:  Feature,  Short,  doc, 
animation,  experimental,  student,  any 
style  or  genre.  Formats:  Digital,  35mm, 
16mm,  DV,  Beta,  Beta  SR  DVD,  DigiBeta. 
Preview  on  VHS.  Entry  Fee:  $40.  Contact: 
Mike  Rabehl,  Programming;  (408)  995- 
5033;  fax:  995-5713;  info@cinequest.org; 
www.cinequest.org. 

EXPLORERS  CLUB  DOC  FILM  FESTIVAL,  Jan 

21,  NY.  Deadline:  Oct.  14.  This  Festival  is 
a  annual  celebration  of  the  best  in  short 
films  on  the  subjects  of  Scientific 
Exploration,  Field  Research,  Wildlife  & 
Conservation.  Formats:  DigiBeta,  Beta 
SP  Preview  on  VHS.  Entry  Fee:  $25  (stu- 
dent), $30  (shorts),  $45  (features). 
Contact:  Sybille  Campbell,  Festival 
Director  ;  212)628-8383;  fax:  628-2048; 
filmfestival@explorers.org;  www.explor 
ers.org/spec_events/filmfest/filmfest.php. 

FLICKERING  IMAGE  FESTIVAL,  Jan    7,   CA 

Deadline:  Nov.  1.  This  fest  screens  ten 
winning  short  films  &  screens  it  to 
Hollywood  audience  giving  exposure  & 
publicity  to  the  film.  Cats:  short,  any  style 
or  genre.  Formats:  DVD,  Beta  SP,  Mini-DV, 
DV.  Preview  on  DVD  or  VHS.  Entry  Fee: 
$30.  Contact:  Dr.  Paul  Molinaro; 
shortsfest@actorsbone.com; 
www.actorsbone.com/shorts. 


50  The  Independent  I  October  2005 


FULL  FRAME  DOC  FILM  FESTIVAL,  April  6-9, 
NC.  Deadline:  Oct.  15,  Nov.  15,  Dec.  15 
(final).  The  four  day  event  takes  place  at 
the  historic  Carolina  Theatre  in  downtown 
Durham,  North  Carolina,  w/  morning  to 
midnight  screenings,  panel  discussions, 
seminars,  Q&A  sessions.  Works  must 
have  been  completed  after  Jan.  of  previ- 
ous year.  Films  cannot  be  longer  than  180 
min.  Cats:  doc.  Formats:  35mm,  16mm, 
Beta  SR  DigiBeta.  preview  on  VHS/DVD. 
Entry  Fee:  $35;  $45,  $55  (final).  Contact: 
Phoebe  Brush;  (919)  687-4100; 
fax:  687-4200;  phoebe@fullframefest.org; 
www.fullframefest.org. 

INDEPENDENT  FILM  FORUM,  Nov  14  Jan  31 

Deadline:  Nov.  5.  Free  online  film  fest  in 
which  winner  is  determined  by  registered 
users  of  the  site,  as  well  as  ten  profession- 
als from  the  entertainment  industry. 
Contact:  Jesse  D'Aiello;  (973)  865-6838; 
support@independentfilmforum.com; 
www.lndependentFilmForum.com. 

KIDFILM,  January  21-22,  TX.  Deadline: 
October  18.  Fest  is  "the  oldest  &  largest 
children's  fest  in  the  world".  Featuring  the 


best  new  films  &  classic  films  from 
around  the  world  for  audiences  of  all  ages. 
Featuring  nat'l  premieres  of  works. 
Filmmakers  in  attendance.  Founded: 
1984.  Cats:  short,  feature,  family,  children. 
Formats:  35mm,  16mm,  All  Video 
Formats.  Preview  on  DVD  or  VHS.  Entry 
Fee:  None.  Contact:  c/o  USA  Film  Festival; 
(214)  821-6300;  fax:  821-6364;  usafilmfes 
tival@aol.com;  www.usafilmfest.com. 

NEW  YORK  INT'L  CHILDREN'S  FILM  FESTIVAL, 

March  3-19,  NY.  Deadline:  Oct.  15. 
Competitive  fest  screens  75  new  works, 
shorts  &  features,  screen  to  an  est.  audi- 
ence of  20,000  children  ages  3-18,  par- 
ents, filmmakers  &  media  execs.  Plus 
workshops,  panels,  sidebar  events  &  pre- 
sentations. Founded:  1997.  Cats:  feature, 
doc,  short,  animation,  experimental, 
music  video,  student,  youth  media,  family, 
children.  Formats:  35mm,  Beta  SR  DVD. 
Preview  on  VHS  or  DVD.  Entry  Fee:  $75 
(feature,  45  mm.  or  longer);  $50  (short, 
under  45  mm.);  $25  (student).  Contact: 
Emily  Shapiro;  (212)  349-0330;  fax:  966- 
5923;  mfo@gkids.com;  www.gkids.com. 


Independent  Narrative 

Filmmakers  and  Their  Films 

On  the  beautiful  Kohala  Coast  of  Hawaii!  ! 


Island 
Film 
festival 


•  Independent  Narrative  Films 

•  Filmmaker  Symposiums 

•  Parties 

•  Beautiful  Beaches 

•  World  Class  Resorts 

•  Great  Weather 

•  Spirit  of  Aloha 


Call  for  entries  -  deadline:  March  i,  2006 
www.BigIslandFilmFestival.com 


•  ■  ■  ■  ■  ■  ■ 


ORLANDO  INTERNATIONAL  FILM  FESTIVAL, 

Nov.  4-6,  FL.  Deadline:  Oct.  8.  This  fest 
showcases  the  most  exciting,  creative, 
and  cutting-edge  features,  shorts,  anima- 
tions, commercials  and  videos  from 
around  the  world.  Cats:  feature,  short,  ani- 
mation, music  video,  commercial,  interac- 
tive media,  doc,  experimental,  student, 
any  style  or  genre.  Awards:  Winners 
receive  Limited  Distribution  In  Major  US 
Cities,  with  promo  and  marketing  pack- 
age. Preview  on  VHS.  Entry  Fee: 
Features:  $50;  Shorts  (Under  40  minutes): 
$35;  Student  fee:  $25.  Contact:  OIFF, 
4270  Aloma  Avenue  #1 24-61 C,  Winter 
Park,  FL,  USA  32792;  (407)  894-7842; 
mfo@orlandofilmfestival.com; 
www.orlandofilmfestival.com 

PAN  AFRICAN  FILM  FESTIVAL,    Feb    9  20, 

CA.  Deadline:  Oct.  31.  Founded  in  1992, 
fest  presents  features,  shorts  &  docs 
from  Africa,  Caribbean,  Latin  America, 
Europe,  South  Pacific,  Canada  &  US.  Films 
must  be  by  or  about  people  of  African 
descent.  Cats:  feature,  doc,  short. 
Formats:  35mm,  1/2",  3/4",  Digital  Video. 
Preview  on  DVD  or  VHS.  Entry  Fee:  $20. 


© 


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Film,  Video  &  Web  Production 

AVID  AND  FINAL  CUT  PRO  SUITES 

POST-PRODUCTION  SPECIALISTS 

AFTER  EFFECTS /MOTION  GRAPHICS 

EXPERIENCED  IN  FEATURE  LENGTH 
DOCUMENTARIES  AND  NARRATIVES 


670  BROADWAY  SUITE  300,  NY,  NY  10012 

3  3  4-8283 

www.americanmontage.com 


October  2005  I  The  Independent  51 


standL 

program 


Standby  provides  artists  & 
independent  makers  access  to 
the  latest  media  arts  services  at 
top-rated  post-production  studios 
at  discounted  rates. 

Audio,  Film  &  Video 
Post  Production  Services 

Broadcast  Quality  Editing 

Digital  Effects 

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Film  Processing 

Film  to  Tape  Transfer 

Conversion  &  Duplication 

DVD  Authoring 

Tape  Preservation  Services 

Technical  Consultation 

Serving  the  community  for 
over  20  Years! 

www.standby.org 

info@standby.org 
212.206.7858 


Contact:  Ayuko  Babu,  exec,  director;  (323) 
295-1706;  fax:  295-1952;  info@paff.org; 
www.paff.org. 

PORTLAND  INT'L  FILM  FESTIVAL,  Feb  10-25, 
OR.  Deadline:  Nov.  1 .  Noncompetitive  fest 
focuses  primarily  on  new  work  from  out- 
side the  US,  but  American  features,  docs 
&  shorts  included.  Fest  screens  nearly 
100  films  from  over  30  countries.  Cats: 
feature,  doc,  short,  animation,  experimen- 
tal. Formats:  35mm,  16mm,  3/4".  Preview 
on  VHS.  Entry  Fee:  $25.  Contact:  Bill 
Foster  ;  (503)  221-1156;  fax:  294-0874; 
info@nwfilm.org;  www.nwfilm.org. 

SAN  FRANCISCO  INT'L  FILM  FESTIVAL,  April 
20-May4,  CA.  Deadline:  Nov.  11;  Dec.  9. 
Founded  in  1957  &  the  oldest  film  fest  in 
america,  SFIFF  is  presented  each  spring 
by  the  San  Francisco  Film  Society  show- 
casing approx.  200  features,  docs  & 
shorts;  fest  is  dedicated  to  highlighting 
current  trends  in  int'l  film  &  video,  w/an 
emphasis  on  work  w/out  US  distrib. 
Founded:  1957.  Cats:  feature,  doc,  short, 
animation,  experimental,  music  video,  stu- 
dent, youth  media,  TV,  any  style  or  genre. 
Formats:  35mm,  16mm,  3/4",  Beta  SR 
70mm.  Preview  on  VHS  or  DVD.  Entry 
Fee:  $15-200(depending  on  category  of 
film  or  video).  Contact:  Programming 
Dept.;  (415)  561-5022;  fax:  561-5099;  pro 
gramming@sffs.org;  www.sffs.org. 

SLAMDANCE  FILM  FESTIVAL  January  19-27, 
UT.  Deadline:  shorts:  Aug.  29;  Oct.  11 
(final);  features:  Aug.  29;  Oct.  17  (final). 
Started  by  3  filmmakers  in  1995,  test's  pri- 
mary objective  is  to  present  new  indie 
films  by  new  filmmakers.  Founded:  1995. 
Cats:  Short,  Doc,  Feature,  Animation, 
Experimental,  Any  style  or  genre. 
Formats:  35mm,  16mm,  3/4",  1/2",  Beta 
SR  DVD,  Web.  Preview  on  VHS.  Entry 
Fee:  $25-$60.  Contact:  Slamdance;  (323) 
466-1786;  fax:  466-1784;  mail@slam 
dance.com;  www.slamdance.com. 

TRIBECA  FILM  FESTIVAL,  April  25-  May  7, 
NY.  Deadline:  Nov.  4;  Dec.  9  (final,  shorts); 
Dec.  16  (final,  features).  Created  by  Jane 
Rosenthal  &  Robert  De  Niro,  the  mission 
of  the  fest  is  to  "enable  the  int'l  film  com- 
munity &  the  general  public  to  experience 
the  power  of  film  by  redefining  the  film 


fest  experience".  Cats:  feature,  doc, 
short,  animation,  experimental,  student. 
Formats:  35mm,  16mm,  HD  Cam. 
Preview  on  VHS,  DVD.  Contact:  Festival; 
(212)  941-2304;  entnes@tribecafilmfesti 
val.org;  www.tnbecafilmfestival.org. 

TRUE /FALSE  FILM  FESTIVAL,  Feb  24  26;  April 
21-23,  MO.  Deadline:  Sept.  30;  Oct.  30;  Nov. 
30  (final).  The  fest  welcomes  documentaries 
and  work  that  crosses  boundaries  between 
fact  and  fiction.  Festival  pays  for  all  travel 
expenses  of  invited  filmmakers.  Cats:  doc. 
Formats:  35mm,  16mm,  DV  cam,  DV,  mini- 
DV.  Preview  on  VHS  or  DVD.  Entry  Fee:  $20; 
$25;  $30  (final).  Contact:  Festival,  113  Ripley 
St.,  Columbia,  MO  65201;  (573)443-TRUE; 
fax:  443-4884;  info@truefalse.org; 
www.truefalse.org. 

UNA  FILM  FESTIVAL,  March  3-5,  AL 
Deadline:  Sept.  15;  Nov.  15;  Dec.  1  (final). 
Fest  sponsored  by  actor  George  Lindsey 
and  his  alma  mater,  the  University  of 
North  Alabama.  Screenings  of  accepted 
films  and  free  workshops  conducted  by 
industry  professionals  during  the  event. 
Works  completed  in  the  previous  three 
years  are  eligable.  Cats:  feature,  short, 
music  video,  student,  doc,  animation. 
Preview  on  VHS.  Entry  Fee:  $20;  $10 
(Student).  Contact:  Festival,  UNA  Box 
5151,  Florence  ,  AL  35632;  (256)  765- 
4592;  lindseyfilmfest@una.edu;  www.lind 
seyfilmfest.com. 

U.S.  COMEDY  ARTS  FESTIVAL,  Feb  9-13, 
CO.  Deadline:  Nov.  5.  Festival  is  the  annu- 
al HBO-sponsored  event  held  in  Aspen, 
Colorado  that  features  the  best  comedic 
film,  theater,  standup,  &  sketch  to  an 
industry-heavy  audience.  Approximately 
25  features  &  25  shorts  are  selected  from 
over  800  submissions.  Shorts  must  be 
under  60  min..  Cats:  Feature,  short. 
Formats:  35mm,  Video.  Preview  on  VHS 
or  DVD.  Entry  Fee:  None.  Contact 
Attn:  Film  Program;  (310)  382-3595 
fax:  382-3445;  kevm.haasarud@hbo.com 
www.hbocomedyfestival.com. 

VC  FILMFEST:  LOS  ANGELES  ASIAN  PACIFIC 
FILM  FESTIVAL,  May  4-11,  CA.  Deadline: 
Nov.  14;  Dec.  16  (final).  Visual 
Communications,  the  nation's  premier 
Asian  Pacific  American  media  arts  center, 


52  The  Independent  I  October  2005 


established  test  as  a  vehicle  to  promote 
Asian  &  Asian  Pacific  American  cinema. 
Fest  has  grown  from  its  beginnings  as  a 
weekend  series  into  an  annual  showcase 
presenting  the  best  of  Asian  Pacific 
American  &  Asian  int'l  cinema  in  the 
United  States.  Cats:  feature,  doc,  short, 
animation,  experimental.  Formats:  super 
8,  16mm,  35mm,  3/4",  Beta  SP  Preview 
on  DVD  or  VHS.  Entry  Fee:  $20,  $35 
(final).  Contact:  Fest  Dir. ,  c/o  Visual 
Communications;  (213)  680-4462  x.  68; 
fax:  687-4848;  info@vconline.org; 
www.vconline.org. 

WINGSPAN  FILM  FESTIVAL,  March  3-5,  AZ 
Deadline:  Sept.  15;  Oct.  15  (final). 
Formerly  the  Tucson  Lesbian,  Gay, 
Bisexual,  Transgender  Film  Festival,  fest 
presents  films  that  focus  on  the  diversity 
of  experience  of  gay,  lesbian,  bisexual  & 
transgender  people  &  that  present  new 
perspectives  on  issues  concerning  the 
LGBT  community.  Cats:  feature,  doc,  ani- 
mation, experimental,  short.  Formats: 
35mm,  Beta,  Mmi-DV,  DVD.  Preview  on 
VHS  or  DVD.  Entry  Fee:  $10;  $15  (final). 
Contact:    Elizabeth    Burden;    (520)    624- 


1779;  filmfest@wmgspan.org;  www.wing 
span.org/filmfest. 

WOMEN  OF  COLOR  FILM  FESTIVAL,  March  3 
6,  CA.  Deadline:  Oct.  1;  Nov.  1  (final).  Fest 
aims  to  provide  a  progressive  showcase 
of  films  created  by  an  underrepresented 
sector  of  the  film  industry.  First  consider- 
ation is  given  to  those  films  or  videos 
directed  by  minority  women.  Second  pri- 
ority for  films/videos  w/  women  of  color  in 
key  creative  positions  other  than  director, 
e.g.  producer,  screenwriter,  etc.  Films 
may  be  of  any  length,  genre  &  format,  & 
must  be  less  than  3  years  old.  Cats:  fea- 
ture, doc,  short.  Formats:  35mm,  16mm, 
Beta,  Mmi-DV,  DV  Preview  on  VHS.  Entry 
Fee:  None;  $10  (final).  Contact:  c/o  Pacific 
Film  Archives;  (510)  642-1412;  wocfilm 
project@berkeley.edu;  www.bampfa.berk 
eley.edu/pfa_programs  /women_of_color/. 

INTERNATIONAL 

ANIMA    (BRUSSELS    INT'L    FESTIVAL    OF 
CARTOONS  &  ANIMATED  FILMS),   Feb    24 

March  5,  Belgium.  Deadline:  Nov.  1.  Since 
1982,  fest  has  been  showcase  for  new, 


interesting  works  in  animation,  providing 
opp.  to  be  seen  by  Belgian  film  &  TV  dis- 
tribs.  Cats:  animation,  short,  children,  fea- 
ture, experimental,  music  video,  student. 
Awards:  Beligian  competition  for  best 
short  animated  film.  Formats:  35mm, 
16mm,  Beta  SP,  70mm,  DVD.  Preview  on 
DVD,  VHS  or  Beta  SP.  Entry  Fee:  None. 
Contact:  Francoise  Catahala;  011  322  534 
4125;  fax:  322  534  2279;  info@folio 
scope.be;  www.awn.com/folioscope. 

BERMUDA  INT'L  FILM  FESTIVAL,  March  1 7- 
25,  Bermuda.  Deadline:  Oct.  1;  Nov.  1 
(final).  Feature  &  doc  feature  competition 
cats  limited  to  first  &  second-time  feature 
directors.  The  AMPAS  has  elected  to 
recognise  the  Bermuda  Int'l  Film  Festival 
as  a  qualifying  fest  for  the  Short  Films  cat- 
egory for  the  Annual  Academy  Awards®. 
Founded:  1997.  Cats:  any  style  or  genre, 
feature,  doc,  short.  Formats:  35mm. 
Preview  on  VHS.  Entry  Fee:  None,  $25 
for  tape  return.  Contact:  BIFF;  (441)  293- 
FILM;  fax:  293-7769;  info@biff.bm; 
www.biff.bm. 


October  2005  I  The  Independent    53 


The  Camargo  Foundation 

Residency  Fellowship  Program 


The  Camargo  Foundation  maintains,  in  Cassis,  France,  a  center  for  the  benefit  of 
scholars  who  wish  to  pursue  studies  in  the  humanities  and  social  sciences  related  to 
French  and  francophone  cultures.  The  Foundation  also  supports  creative  projects  by 
visual  artists,  photographers,  video  artists,  filmmakers,  media  artists,  composers  and 
writers.  Creative  projects  do  not  need  to  have  a  specific  French  connection. 

The  Foundation  offers,  at  no  cost,  thirteen  furnished  apartments,  a  reference 
library,  a  darkroom,  an  artist's  studio  and  a  music  composition  studio.  The 
residential  fellowship  is  accompanied  by  a  $3,500  stipend,  awarded  automatically 
to  each  recipient  of  the  grant. 

The  normal  term  of  residence  is  one  semester  (early  September  to  mid-December 
or  mid-January  to  late  May);  precise  dates  being  announced  each  year.  Applicants 
may  include  university  and  college  faculty,  including  professors  emeriti,  who  intend 
to  pursue  special  studies  while  on  leave  from  their  institutions;  independent  schol- 
ars working  on  specific  projects;  secondary  school  teachers  benefiting  from  a  leave 
of  absence  in  order  to  work  on  a  pedagogical  or  scholarly  project;  graduate  students 
whose  academic  residence  and  general  examination  requirements  have  been  met 
and  for  whom  a  stay  in  France  would  be  beneficial  in  completing  the  dissertation; 
visual  artists,  photographers,  video  artists,  filmmakers,  media  artists,  composers  and 
writers  with  specific  projects  to  complete. 

Applicants  from  all  countries  are  welcome.  Application  deadline  is 
January  15  for  the  following  academic  year. 

For  additional  information  and  application  forms,  please  consult  the  Foundation's 
Web  site:  www.camargofoundation.org  or  write  to: 

The  Camargo  Foundation 

U.S.  Secretariat 

125  Park  Square  Court 

400  Sibley  Street 

Saint  Paul,  MN  55101-1928  USA 

camargo@jeromefdn.org 


CLERMONT-FERRAND    INT  L    SHORT    FILM 

FESTIVAL  Jan.  27-Feb.  4,  Deadline: 
October  17.  Festival  presents  major  int'l 
competition  w/  over  50  countries  repre- 
sented, providing  a  spectacular  event  of 
worldwide  cinematographic  creation, 
screening  over  120  films  to  enthusiastic 
audiences.  Cats:  Feature,  Doc,  Animation, 
Experimental,  Short.  Formats:  35mm, 
16mm,  DigiBeta,  Beta  SP.  Preview  on 
VHS  or  DVD.  Entry  Fee:  None.  Contact: 
Christian  Guinot  /  Melanie  Jonier;  011  33 
473  91  65  73;  fax:  473  92  11  93; 
info@clermont-filmfest.com;  www.cler 
mont-filmfest.com. 

FRIBOURG  INT'L  FILM  FESTIVAL,  March  1 2- 
19,  Switzerland.  Deadline:  Oct.  31. 
Festival  goal  is  "promoting  the  dialogue 
between  different  cultures."  Cats:  fea- 
ture, doc,  animation,  experimental,  short. 
Awards:  Cash  awards.  Formats:  35mm, 
16mm,  1/2".  Preview  on  VHS  or  DVD. 
Entry  Fee:  None.  Contact:  FIFF;  011  4126 
347  4200;  fax:  347  4201;  info@fiff.ch; 
www.fiff.ch. 

MAX  OPHULS  FILM  FESTIVAL,  Jan  23-29, 
Germany.  Deadline:  Nov.  1.  Estab  in  1980, 
compet  fest  is  particularly  for  young  dirs 
from  German  speaking  countries 
(Switzerland,  Austria,  Luxembourg  & 
Germany)  who  may  enter  up  3  films. 
Features  accepted  for  competition;  fest 
also  accepts  shorts,  docs,  &  exp  works. 
Formats:  16mm,  35mm.  Preview  on  VHS. 
Entry  Fee:  none.;  www.max-ophuels 
preis.de 

MUNICH  INTERNATIONAL  DOCUMENTARY 
FILM  FESTIVAL,  May  4-11,  Germany. 
Deadline:  Oct.  28.  International  Program 
selects  50  to  60  films  from  20  countires. 
Ample  consideration  given  to  films  from 
North  America.  There  are  special  sections 
for  films  from  Bavaria  and  the  Balkans. 
Awards:  Festival  Award  for  "Special 
Documentary  Film."  Bavarian  TV  Corp.'s 
Prize  of  DM  20,000.  Audience  Award  of 
DM  5,000..  Formats:  35mm,  16mm. 
Preview  on  VHS.  Contact:  Gudrun  Geyer, 
Trogerstrasse  46,  Munchen,  Germany  D- 
81675;  49  89  51  39  97  88;  fax:  089-470-66 
11;  www.dokfest-muenchen.de 


NETMAGE  FESTIVAL,  Jan  25  28,  Italy 
Deadline:  Oct.  15.  Held  in  Bologna,  the 
fest  welcomes  all  projects  that  make  use 
of  visual  &  audio  devices  (electronic,  elec- 
tro-acoustic, digital,  analogue  &  cinemato- 
graphic), w/the  aim  of  providing  an  outlet 
for  the  various  aesthetics  &  practices  con- 
nected to  contemporary  visual  production. 
The  projects  selected  by  the  fest's  curato- 
rial team  will  feature  in  the  programme  of 
main  events.  Formats:  DVD,  1/2",  CD- 
ROM.  Preview  on  VHS  or  DVD.  Contact: 
Festival;  fax:  011  39  5133  0900;  info@net 
mage.it;  www.netmage.it. 

PREMIERS  PLANS  D  ANGERS,  Jan    20-29, 

France.  Deadline:  Oct.  15.  This  fest  aims 
to  promote  European  productions  in  their 
ten  day  fest.  Cats:  feature  (1st  or  2nd), 
short  (1st  only),  student.  Formats:  35mm, 
16mm.  Preview  on  VHS  or  DVD.  Entry 
Fee:  None.  Contact:  Festival;  011  33  (1) 
4271  5370;  fax:  4271  0111;  paris@pre 
miersplans.org;  www.premiersplans.org. 

REELW0RLD  FILM  FESTIVAL,  April  19  23, 
Canada.  Deadline:  Nov.25;  Dec.  2  (final). 
ReelWorld  Film  Festival  aims  to  promote, 
encourage  &  showcase  the  work  of 
Canada's  culturally  &  racially  diverse  film  & 
video  makers  to  Canadian  &  int'l  audi- 
ences as  well  as  create  an  awareness  of  & 
appreciation  for  diverse  stories.  Festival 
incls.  seminars,  training  sessions,  &  par- 
ties. Founded  by  actress  Tonya  Lee 
Williams  ("Young  &  the  Restless"). 
Founded:  2001.  Cats:  feature,  doc,  short, 
animation,  experimental,  children,  music 
video,  student.  Formats:  35mm,  Beta, 
DVD.  Preview  on  DVD  or  VHS.  Contact: 
Festival;  (416)  598-7933;  fax:  585-2524; 
info@reelworld.ca;  www.reelworld.ca. 

ROTTERDAM  INT'L  FILM  FESTIVAL,  Jan    25- 

Feb.  5,  Netherlands.  Deadline:  October  1 
(Shorts  &  Docs);  November  1  (Features). 
Largest  fest  in  Benelux  w/  reputation  for 
programming  innovative,  experimental 
new  works  alongside  more  commercial 
prods.  100+  features  have  world,  int'l  or 
European  premieres;  350,000  atten- 
dances in  previous  years.  Fest  on  par  w/ 
Berlin  &  Sundance;  describes  itself  as 
"having  eye  for  uncompromising  individu- 
alism &  political  &  social  aspects  of  film." 
More  than  a  showcase,  it  supports  prod. 


&  distrib  of  work.  Fest  also  hosts 
Cinemart  (deadline  Oct.  1),  important  co- 
prod,  market  &  meeting  place  for  produc- 
ers, distributors  &  financiers;  about  40  film 
projects  represented.  Additionally,  Hubert 
Bals  Foundation  offers  financial  support 
(deadlines  Aug.  1  &  Mar.  1)  in  cats  of 
script  &  project  development,  prod.  & 
postprod.  funding  &  distribution  &  sales. 
Cats:  Doc,  Experimental,  Feature,  Short, 
animation,  installation.  Formats:  35mm, 
16mm,  Beta  SP,  DigiBeta,  CD-ROM. 
Preview  on  DVD  or  VHS.  Entry  Fee:  None. 
Contact:  Programme  Dept.  ;  (011)  31 
10  890  9090;  fax:  890  9091;  pro 
gramme@filmfestivalrotterdam.com; 
www.filmfestivalrotterdam.com. 

TRIESTE  FILM  FESTIVAL,  Jan  19-26,  Italy 
Deadline:  Oct.  31.  This  is  the  leading  fest 
of  Central  &  Eastern  European  Cinema  in 
Italy.  Cats:  feature,  doc,  short.  Preview  on 
VHS  or  DVD.  Entry  Fee:  None.  Contact: 
Annamana  Percavassi;  01 1  39  040  31  1 1 
53;  fax:  311  993;  info@alpeadriacmema.it; 
www.alpeadnacinema.it. 

VICTORIA  INDEPENDENT  FILM  &  VIDEO 
FESTIVAL,  Jan.  27-Feb.  5,  Canada. 
Deadline:  Sept.1;  Oct.  1;  Oct.  15  (final). 
The  fest  offers  high  quality  films,  activities 
&  events,  encourages  artistic  innovation  & 
creativity,  provides  access  for  a  broad 
audience  segment  &  is  committed  to 
cooperation  &  collaboration  w/  other  arts 
organizations  as  well  as  the  business 
community.  Interactive  programs  mcl.  cre- 
ative workshops,  master  classes  w/  high 
profile  directors,  discussion  forums  &  the 
brand  new  Trigger  Points  Pacific  co-pro- 
duction conference,  helping  make  produc- 
tions happen.  Founded:  1995.  Cats:  any 
style  or  genre,  feature,  doc,  experimental, 
short,  animation.  Awards:  Best  Feature, 
Best  Canadian  Feature,  Best  Doc,  Best 
Short,  Best  Canadian  Short.  Formats: 
35mm,  16mm,  Beta  SP,  1/2",  DV,  DVD. 
Entry  Fee:  $10;  $20  (final).  Contact: 
Donovan  Aikman,  Festival  Programmer; 
(250)  389-0444;  fax:  389-0406; 
festival@vifvf.com;  www.vifvf.com. 


October  2005  I  The  Independent    55 


Statement  of  Ownership:  Management  and  Circulation 
(Required  by  39  U.S.C.  3685)  1.  Title  of  Publication:  The 
Independent  2.  Publication  number:  01 1-708.  3.  Filing  dare:  07-26- 
2005-  4.  Issue  frequency:  Monthly  (except  combined  issues 
January/February  and  July/August).  5.  Number  of  issues  published 
annually:  10.  6.  Annual  subscription  price:  S70/individual;  $35/stu- 
dent;  $100/nonprofit  &  school;  S150/business  &  industry.  7. 
Complete  mailing  address  ot  publication:  304  Hudson  St.,  6th  fl.. 
New  York,  NY  10013-1015.  Contact  person:  Shana  Liebman,  (212) 
807-1400  x229.  8.  Complete  mailing  address  of  publisher:  304 
Hudson  St.,  6rh  fl.,  New  York,  NY  10013-1015.  9.  Full  names  and 
complete  mailing  addresses  of  the  publisher,  editor,  and  managing 
editor:  Publisher:  Bienvedia  Mathias.  Editor:  Rebecca  Carroll. 
Managing  Editor:  Shana  Liebman.  1 0.  Owner:  The  Association  of 
Independent  Video  and  Film  (AIVF).  (AIV'F  is  a  nonprofit  organi- 
zation.) 11.  Known  bondholders,  morrgagees,  and  other  securiry 
holders  owning  or  holding  1  percent  or  more  of  total  amount  of 
bonds,  morrgages,  or  orher  securities:  None.  12.  Tax  status:  The  pur- 
pose, function,  and  nonprofit  sratus  ot  this  501(c)(3)  organization 
and  the  exempt  status  for  federal  income  tax  purposes  has  not 
changed  during  rhe  preceding  1 2  months.  1 3.  Publication  title:  The 
Independent  14.  Issue  date  for  circulation  data  below:  July/ August 
2005.  15.  Extent  and  nature  of  circulation:  a.  Total  No.  Copies  (net 
press  run):  Average  no.  copies  each  issue  during  preceding  12 
months:  9534;  actual  no.  copies  of  single  issue  published  nearest  to 
filing  date:  9263-  b.  Paid  and/or  requested  circulation:  (1) 
Paid/requested  outside-county  mail  subscriptions  stated  on  Form  : 
Average  no.  copies  each  issue  during  preceding  12  months:  4604;  no. 
copies  of  single  issue  published  nearest  to  filing  date:  4424;  (2)  Paid 
in-counry  subscriptions  stated  on  Form  3541:  N/A;  (3)  Sales 
through  dealers,  carriers,  street  vendors,  counter  sales  &  other  non- 
USPS  paid  distribution:  Average  no.  copies  each  issue  during  pre- 
ceding 12  monrhs:3818;  no.  copies  ot  single  issue  published  nearest 
ro  filing  dare:  3589;  (4)  Orher  classes  mailed  through  the  USPS: 
N/A.  c.  Total  paid  and/or  requested  circulation:  Average  no.  copies 
each  issue  during  preceding  12  months:  8422;  no.  copies  of  singleis- 
sue  published  nearest  to  filing  date:  8013.  d.  Free  distribution  by 
mail:  Average  no.  copies  each  issue  during  preceding  12  months:  n/a; 
no.  copies  of  single  issue  published  nearest  to  filing  date:  n/a.  e.  Free 
distribution  outside  the  mail  (carriers  or  other  means):  Average  no. 
copies  eachissue  during  preceding  12  months:  1091;  no.  copies  of 
single  issue  published  nearest  to  filing  date:  1250.  f.  Total  free  distri- 
bution: Average  no.  copies  each  issue  during  preceding  12  months: 
1091;  no.  copies  of  single  issue  publishednearest  to  filing  date:  1250. 
g.  Total  distribution:  Average  no.  copies  each  issue  during  preceding 
12  months:  9557;  no.  copies  of  single  issue  published  nearesr  to  fil- 
ing date:  9263.  h.  Copies  not  distributed:  Average  no.  copies  each 
issue  during  preceding  12  months:  21;  no.  copies  of  singleissue  pub- 
lished nearest  to  filing  date:  0.  i.  Total:  (sum  of  15  g,  h(l)  and  h(2) 
Average  no.  copies  each  issue  during  preceding  1 2  months:  9534;  no. 
copies  of  single  issuepublished  nearest  to  filing  date:  9263.  j.  Percent 
paid  and/or  requested  circulation:  Average  no.  copies  each  issuedur- 
ing  preceding  12  months:  88.12%;  actual  no.  copies  of  single  issue 
published  nearest  to  filing  date:  86.50%.  16.  Publication  of 
Statement  of  Ownership:  Publication  required.  1 T.  I  certify  that  all 
informarion  furnished  on  this  form  is  true  and  complete.  (Signed) 
Shana  Liebman,  Managing  Editor,  20rh,  July  2005. 


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COMPETITIONS 

AMERICAN  ACCOLADES  5TH  ANNUAL  TV  & 
SHORTS  COMPETITION:  A  competition 
designed  to  provide  outlet  for  emerging 
talent  in  a  relatively  impenetrable  industry. 
Finalist  judges  include  agents,  managers  & 
other  industry  executives.  Cats:  1/2  Hour 
Pre-Existing  or  1/2  Hour  Pilot  for  Sit-Com, 
1-Hour  Pre-Existing,  1-Hour  Pilot,  or  Movie 
of  the  Week,  or  Short  Screenplay, 
treatment,  outline,  written  pitch,  spec 
show  bibles,  reality  show  idea/treatment, 
game  show  idea/treatment,  or  Short  film 
(must  submit  on  VHS).  Over  $3000  in  cash 
prizes.  Deadline:  October  8th,  2005. 
Application  available  on  website: 
www.AmericanAccolades.com  Contact: 
Accolades  TV  &  Shorts,  2118  Wilshire 
Blvd.,  Ste.  160B,  Santa  Monica,  CA  90403; 
info@AmencanAccolades.com. 

AMERICAN  ACCOLADES  FEATURE  SCREEN- 
WRITING  COMPETITION  A  competition  which 
offers  something  most  others  don't:  feed- 
back. This  competition  is  designed  to  pro- 
vide an  outlet  for  emerging  talent  in  a  rela- 
tively impenetrable  industry.  Finalist  judges 
include  agents,  managers,  &  other  industry 
executives.  Cats:  Drama,  SciFi/Action 
/Adventure,  Comedy/Romantic  Comedy, 
Thriller/  Horror,  and  Other.  Over  $5000  in 
cash  and  prizes.  Category  winners  receive 
$500,  Grand  Prize  winner  takes  home 
$2,500.  Early  deadline  October  22,  2005. 
Contact:  www.AmericanAccolades.com 
2118   Wilshire    Blvd.,    Ste    160B,    Santa 


Monica,      CA 
Accolades.com 


90403:      info@Amencan 


CONFERENCES  /  WORKSHOPS 

REEL    VISION    FILMMAKERS'    CONFERENCE 

October  21-23,  2005,  Radisson  Hotel,  City 
Center  Tucson,  Arizona.  In  this  competitive 
industry,  filmmakers  need  an  edge  to  break 
in.  That  edge  is  having  an  outstanding  script 
and  an  innovative  voice.  Linda  Seger  is  just 
one  of  the  world  class  screenwnting  and 
filmmaking  instructors  teaching  attendees 
how  to  express  their  unique  vision  on  film. 
Registration:  $100,  www.reelmspiration.org, 
520-325-9175. 

THE  SHOWBIZ  EXPO  will  be  a  focused  busi- 
ness-to-business  event  catering  to  the  work- 
ing practitioner  in  television  and  film. 
Conference  sessions  cover  the  most  press- 
ing issues  in  content  creation,  production, 
post-production  and  distribution.  ShowBiz 
Expo  features  the  latest  products,  technolo- 
gies and  services  for  professionals  in  film- 
making, television,  commercials,  special 
effects,  content  distribution  and  new  media. 
The  exhibits,  events  and  advanced  educa- 
tional content  will  focus  on  the  evolving 
workflow  process  from  production  to  post- 
production  to  the  digital  distribution  of  enter- 
tainment content.  The  event  will  tale  place 
at  the  Barker  Hangar  at  Santa  Monica  Air 
Center.  For  more  information,  visit 
www.showbizexpo.com. 

RESOURCES  / FUNDS 

NAPT  PRODUCER  OPPORTUNITY  FUND  encour- 
ages participation  in  professional  develop- 
ment activities  that  enhance  skills  in  areas 
such  as  TV  production,  marketing,  business 
development  or  involvement  in  Public 
Broadcasting-sponsored  workshops.  Open 
to  individuals  who  have  a  track  record  of  pro- 
ducing programs  about  Native  American 
subject  matter,  or  who  have  been  involved  in 
Public  Broadcasting.  Applications  will  be 
reviewed  quarterly  (received  by):  October  15 
for  activities  scheduled  after  December  1. 
For  additional  information  email: 
native@unl.edu. 

THE  FUND  FOR  WOMEN  ARTISTS  is  a  non-prof- 
it organization  dedicated  to  helping  women 


56  The  Independent  I  October  2005 


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get  the  resources  they  need  to  do  their 
creative  work.  We  focus  on  women  using 
their  art  to  address  social  issues,  especially 
women  in  theatre,  film,  and  video,  and  we 
have  two  primary  goals:  To  Challenge 
Stereotypes  -We  support  the  creation  of  art 
that  reflects  the  full  diversity  and  complexity 
of  women's  lives.  To  Increase  Opportunities 
-  We  advocate  for  women  artists  to  be  paid 
fairly  and  to  have  more  opportunities  to 
make  a  living  from  their  creative  work.  To 
learn  more  about  our  work,  and  to  sign  up  to 
receive  these  funding  newsletters,  visit  our 
web  page  at:  www.WomenArts.org. 

THE  LEEWAY  FOUNDATION,  which  supports 
individual  women  artists,  arts  programs,  and 
arts  organizations  in  the  Greater  Philadelphia 
region,  has  announced  the  Art  and  Change 
Grants  provide  immediate,  short-term  grants 
of  up  to  $2,500  to  women  artists  in  the 
Philadelphia  region  who  need  financial  assis- 
tance to  take  advantage  of  opportunities  for 
art  and  change.  The  artist's  opportunity  for 
change  must  be  supported  by  or  be  in  col- 
laboration with  a  Change  Partner — a  person, 
organization,  or  business  that  is  providing 
the  opportunity  or  is  a  part  of  the  opportuni- 


ty in  some  way.  Eligible  Change  Partners 
include  mentors,  editors,  galleries,  commu- 
nity art  spaces,  theaters,  nonprofit  organiza- 
tions, film  studios,  and  clubs.  (Art  and 
Change  Grant  Deadlines:  April  11,  June  20, 
and  October  31,  2005.)  Visit  the  Leeway 
Foundation  website  for  grantmaking  guide- 
lines and  application  forms. 

THE  PACIFIC  PIONEER  FUND  supports  emerg- 
ing documentary  filmmakers-Limited  to 
organizations  anywhere  in  the  US,  certified 
by  the  IRS  as  "public  charities",  which  under- 
take to  supervise  any  project  for  which  indi- 
viduals receive  funds,  and  to  control  the 
selection  of  individual  recipients  of  funds. 
Grants  are  limited  to  filmmakers  or  videog- 
raphers  who  live  and  work  in  California, 
Oregon  and  Washington.  Approximately 
$1,100,000.  Applications  are  accepted  on  an 
ongoing  basis.  Application  deadlines  in 
2005-06  are  1/2/06  and  5/1/06.  Print  out  an 
application  from  the  web  site  www.pacific- 
pioneerfund.com  and  send  it ,  along  with  a 
VHS  tape  of  up  to  10  minutes  of  edited 
footage  from  the  project  for  which  support  is 
sought,  to  P.O.  Box  20504,  Stanford, 
CA     94309.   Email     Armin     Rosencranz: 


armin@stanford.edu;  phone  650-996-3122. 
MICROCINEMAS  /  SCREENINGS 

FILM  AND  VIDEO  825  Series  of  bi-monthly 
screenings,  providing  a  forum  for  presenting 
experimental  film  and  video  in  Los  Angeles. 
In  a  city  dominated  by  Hollywood,  venues 
such  as  ours  become  a  necessity  for  artists 
working  in  time-based  media  outside  the 
mainstream  of  narrative  cinema.  Open  to 
both  shorts  and  features.  FilmA/ideo 
825,  Gallery  825/LAAA,  825  N.  La  Cienega 
Blvd.,  Los  Angeles,  CA  90069,  (310)  652- 
8272,  Fax:  652-9251,  gallery825@laaa.org, 
www.laaa.org/calendar/film_video.html. 

SQEAKY  WHEEL'S  long-running  free  open 
screening  is  one  of  our  most  popular  pro- 
grams: second  Wednesday  of  Every  Month 
8pm!  Free!  Filmmakers,  video/sound/digital 
artists,  community  documentarians,  and 
students  of  all  ages  are  welcome  to  bring 
short  works  for  insightful  critique.  Formats 
accepted:  Super  8,  16mm,  video  (mini-dv, 
svhs,  vhs),  cassettes,  cds,  Mac  compatible 
cd-rom.  See  www.squeaky.org/opportuni 
ties.html#ongoing  for  more  information. 


David  Ward/WRITER/DIRECTOR 
.  The  Sting 


/DIRECTOR 
Saturday  Night  Fever,  WarGa 


Dezso  Magyar/DIRECTOR/MAST 
No  Secrets,  Summer 


MA  IN  FILM  S" 

MFA  IN  FILM  Al 

MFA  IN  SCREENWRITING 

MFA  IN  FILM  PRODUCTION:  Cinematography  •  Directing  •  Editing  •  Production  Design  ■ 


Learn 


n  from  1 


the  masters 


e/PRODUCER 
?  and  Johnny 


Larry  Paull/PRODUCTION  DESIGNER 
,  Blade  Run 


Film  has  the  power  to  make  us  laugh  or  cry,  to  challenge 
dearly  held  beliefs  or  to  put  forth  new  concepts. 

If  you  dream  of  telling  your  story,  expressing  your  passions 
or  bringing  life  to  your  ideas  through  film,  the  Graduate 
Conservatory  of  Motion  Pictures  at  Chapman  University  has 
the  highly  accomplished  faculty  mentors,  intensely  hands-on 
curriculum  and  resources  to  help  you  reach  your  goals. 

Learn  more.  Call  us.  Visit  us  online. 


j  KNOTT  ,    CHAPMAN  UNIVERSITY 
J    the  Donor;  college  or  film  &  media  arts 

I      One  University  Drive,  Orange,  CA  02866 

800-775-0065  •  714-997-6765 
FTV.CHAPMAN.EDU 
ROBERT  BASSETT,  DEAN 


1  ^^1H  J 


CALL 

FOR 

ENTRIES 


Bill  Dill/CINEMATOGRAPHER 


I  Five  Heartbeats 


BERMUDA 

INTERNATIONAL 


FESTIVAL 

MARCH  17th  -  25th,  2006 

The  Academy  of  Motion  Picture  Arts  and 
Sciences  has  elected  to  recognize  the  Bermuda 
International  Film  Festival  as  a  qualifying 
festival  for  the  Short  Films  category  for  the 
Annual  Academy  Awards®.  Send  us  your 
compelling  narrative  and  documentary  features, 
too.  Awards  in  all  three  categories,  plus  our 
Audience  Choice  Award.  Entry  deadline: 
1  October  2005.  Works-in-progress  welcome.  See 
website  for  entry  form  or  contact  us  directly. 

Website:  www.biff.bm 
E-mail:  info@biff.bm 
Tel:  (441)  293-3456    Fax:  (441)  293-7769 


Advancing  the  love  of  independent  film 


October  2005  I  The  Independent  57 


UCrbrtg  OjlJl-ag-yU* 


CERTIFICATE  PROGRAMS  IN: 


ar,v  n 


Digital  Filmmaking 


Intensive  nine-month  programs  for  the  skills  and  tools  you  need  to  turn  your  ideas  into  reality. 
Financial  assistance  and  career  services  available.  Apply  now. 

Contact  us  •  800.802.2342  •  info@cdiabu.com  •  www.cdiabu.com 


BROADCAST  /  CABLECAST 

AXLEGREASE  PUBLIC  ACCESS  CABLE  SHOW: 

Tuesdays  at  2:00  PM  on  Channel  20  Submit 
your  media  work  to  be  shown  on  TV,  on  our 
legendary  public  access  cable  show.  Provide 
us  with  mini-dv,  vhs,  svhs,  or  8mm  video 
(ntsc)  tapes  with  a  running  time  of  28  min.  or 
less.  Please  visit  www.squeaky.org/opportu 
nities.html#ongoing  for  more  information. 

THE  DOCUMENTARY  CHANNEL  is  a  new  digital 
cable  channel  for  airing  works  by  independ- 
ent documentary  filmmakers.  Submissions 
accepted  on  a  rolling  basis.  http://documen 
tarychannel.com/index.htm  for  more  infor- 
mation or  email  programs@documen 
tarychannel.com. 

WIRESTREAM  FILMSEARCH  WireStream 
Productions,  in  co-operation  with 
WireStream  networks,  is  seeking  independ- 
ent films  and  television  series  for  broadcast. 
Genres  welcome  include  Drama,  Comedy, 
SciFi,  Fantasy,  Nonfiction/Reality  and 
Educational  films  and  series,  suitable  for 
general/mature  audiences.  Submit  entries  to 
Waye  Hicks,  Executive  Producer,  via  email 
to  wayne@wirestreamproductions.com,  or 
to  WireStream  Productions,  3005B  W.  Hwy 
76,  Branson  MO  65616. 

WEBCAST 

FILMFIGHTS.COM  democratic  filmfestival  that 
anyone  can  enter.  We  filmfight  every  ten 
days  of  the  month  (the  1 0th,  20th,  and  30th) 
and  submissions  are  due  1  day  before  the 
fight-given  a  title  or  genre,  the  submissions 
are  voted  on  through  the  website.  The  win- 
ner goes  into  the  archives.  For  guidelines: 
http://filmfights.com/submit.shtml. 

KNOWITALLVIDEO  created  an  online  video 
community  aimed  at  world's  largest  user- 
generated  video  collection.  With  an  exhaus- 
tive list  of  categories  covering  every  con- 
ceivable subject,  any  wannabe  star  or  direc- 
tor with  a  camera  can  easily  upload  short- 
form  digital  videos  for  an  unlimited  audience 
of  Internet  and  wireless  PDA  users  who 
search  the  site  by  key  word  or  category,  all 
completely  free  of  charge-equal  parts  talent 
showcase  and  information  resource.  For 
more  information  please  visit  www.know 
itallvideo.com. 


58  The  Independent  I  October  2005 


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FILM  IN  THE  CITY  seeks  documentary  film 
submissions  for  "Dinner  and  Docs,"  an 
ongoing  series  that  showcases  new  docs 
each  month.  Film  Docs  must  be  between 
1-1/2  hour  long,  email  your  brief  one  para- 
graph bio  to  Staff@Eventsinthecity.org, 
with  'DINNER  AND  DOCS"  in  the  subject 
line  (NO  ATTACHMENTS),  email  the  length 
of  your  film,  include  contact  info. 

FIRST  SUNDAYS   COMEDY  FILM   FESTIVAL 

Deadline:  ongoing.  A  monthly  festival  fea- 
turing the  best  in  comedy  and  short 
film/digi/animation  followed  by  an  after- 
screening  networking  event.  An  ongoing 
festival  held  the  first  Sunday  of  each  month 
at  the  Pioneer  Theater  in  New  York,  First 
Sundays  is  the  premiere  opportunity  to 
showcase  work  and  meet  talented  direc- 
tors and  other  indie  dv/film  folk.  Cats:  short 
(under  20  min.),  comedy,  animation/dv/film. 
Formats:  Mini-DV,  DVD,  VHS.  Entry  Fee: 
$20.  Contact:  (email)  film@chicagocitylim 
its.com  or  www.firstsundays.com 

COMEDY  EXPRESS  TV  seeks  funny  films 
under  7  min.  to  show  and  promote  on  TV. 
Please  look  at  our  website  www.comedy 
expresstv.com  which  gives  background  as 
well  as  the  release  which  MUST  accompa- 
ny all  submissions.  Contact:  Adam  Gilad 
9229  Sunset  Blvd  LA  CA  90069  adamgi 
lad@mac.com  310  271  0023. 

MACHINE  DREAMS  is  developing  a  series  of 


theatrical  shows  for  national  audiences 
that  will  involve  original  music,  movies, 
movie  shorts,  animations,  games,  graphics 
and  art.  We  are  conducting  a  global  search 
for  the  best  ORIGINAL  independent  mate- 
rial in  the  following  categories:  Social 
Commentary  &  Societal  Issues,  Humor 
and  Satire,  Special  Effects,  Interactive  "No 
Death"  Gaming,  Great  Media  in  any  form 
(music,  music  video,  movie,  movie  shorts, 
animation,  games,  graphics,  art)  We  plan 
to  incorporate  your  work  in  one  or  more  of 
the  following  ways:  1 .  Include  it  in  a  juried 
show  in  New  York  City,  with  winners 
receiving  recognition  and  cash  prizes  and 
airing  on  a  network  television  show,  2. 
Include  it  in  one  or  more  interactive  shows 
in  New  York  City,  3.  Include  it  in  distribution 
across  movie  theatres,  DVD,  web,  televi- 
sion, cable,  satellite  or  radio  broadcast. 
Email  a  BRIEF  DESCRIPTION  to  us  of  your 
work:  kate@machine-dreams.com  DO 
NOT  SEND  US  YOUR  WORK  YET.  For 
more  information  call  Kate  Lawson  at  612- 
371-4428x11. 

NEW  SCREEN  is  an  entire  Television 
Channel,  dedicated  to  exhibiting  independ- 
ent film  and  fine  art  video.  "New  Vision 
Awards,"  totaling  $17,500  in  cash,  will  be 
awarded  this  year  for  the  following  cate- 
gories: Overall  Best  FilmA/ideo,  Best 
Animation,  Best  Documentary,  Best 
Drama,  Best  Student,  and  Best  Fine  Art. 
New  Screen  will  review  works  of  any 
length,  topic,  or  year  of  production.  There 
is  no  fee  to  submit.  For  more  info: 
www.newscreen.tv. 

SHORTCUTS  is  now  accepting  submissions 
for  their  monthly  screenings.  No  submis- 
sion fee-Short  Cuts  is  dedicated  to  provid- 
ing filmmakers  with  an  intimate  setting  to 
both  screen  their  work  and  network  with 
others  in  the  film  community.  Short  Cuts 
encourages  submissions  from  first-time 
directors,  students  and  professionals  living 
any  where  in  the  world.  All  genres  are  wel- 
come. No  Deadline  To  submit,  please  visit 
our  website  www.shortcuts.in. 

THE  PIONEER  THEATER-NYC  s  showcase  of 
independent  cinema.  Always  on  the  look- 
out for  new  movies  to  screen.  To  submit 
for  a  public  screening,  check  out: 
www.twoboots.com/pioneer/submit.htm. 


Don't  let  your  script  end  here. 


Get   independent   and  become  a 

member  of  AIVF,  the  Association  of 

Independent  Video  and  Filmmakers. 

By  joining  AIVF  you  can  enjoy  benefits 

like  trade  discounts  on  supplies  and 

services;  discounts  on  workshops  and 

resource  guides;  access  to  affordable 

health  coverage.  AIVF  offers  a 

searchable  directory  of  domestic 

and  international  film  festivals, 

plus  a  whole  lot  more 


visit  us  at  www.aivf.org 


AIVF 


October  2005  I  The  Independent  59 


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BUY  I  RENT  I  SELL 


ARCHIVAL  FOOTAGE  AT  LOW  PRICES,  NO 
RESTRICTIONS:  Offering  a  High  Quality, 
Extensive  Library  of  Public  Domain 
Footage  spanning  the  20th  Century  at 
prices  independent  producers  can  afford. 
Footage  Farm  (888)  270-1414; 
www.footagefarm.com. 

CAMERA    RENTALS    FOR    LOW    BUDGETS 

Production  Junction  is  owned  &  operated 
by  a  fellow  independent.  Cameras,  Lights, 
Mies,  Decks,  etc.  Equipment  &  prices  at 
www.ProductionJunction.com. 
Email:Chris@Production Junction. com  or 
call  (917)288-9000. 

DIGIBETA/BETA-SP  DECKS  FOR  RENT:  Best 
Prices  in  NYC!  Transfer  to  DVD  only  $40. 
VHS  dubs.  DVCAM  decks  &  camera  pack- 
ages by  day/week/month.  1:1  Meridian 
Avid  suite  &  MC4000  suite.  Production 
office  space,  too!  Call  Production  Central 
(212)  631-0435,  www.prodcentral.com. 

OFFICE  SPACE  within  well-established 
video  facility.  5  Office  Rooms/Production 
Space  available.  Access  to  adjoining  con- 
ference room,  kitchen,  large  sun-filled 
lounge.  Stage  &  post  rooms  on  site.  22 
Year-old  Full  Production/Post  Production 
Facility  seeking  media-related  tenants  for 
mutually  beneficial  relationship.  Great 
Chelsea  location.  (212)  206-1402. 


UNION  SQUARE  AREA  STAGE  RENTALS,  pro- 
duction space,  Digibeta,  Beta  SP,  DVCAM, 
mini-DV,  hi-8,  24-P,  projectors,  grip,  lights, 
dubs,  deck  and  camera  rentals. 
Uncompressed  Avid  and  FCP  suites,  too. 
Production  Central  (212)  631-0435. 

DISTRIBUTION 

FANLIGHT  PRODUCTIONS  25  years  as  an 
industry  leader!  Join  more  than  100 
award-winning  film  &  video  producers.  Send 
us  your  new  works  on  healthcare, 
mental  health,  aging,  disabilities,  and  related 
issues.  (800)  937^113;  www.fanlight.com. 

THE  CINEMA  GUILD,  leading  film/video/mul- 
timedia distributor,  seeks  new  doc,  fiction, 
educational  &  animation  programs  for  dis- 
tribution. Send  videocassettes  or  discs  for 
evaluation  to:  The  Cinema  Guild,  130 
Madison  Ave.,  2nd  fl.,  New  York,  NY 
10016;  (212)  685-6242;  info@CIN 
EMAGUILD.COM;  Ask  for  our  Distribution 
Services  brochure. 

FREELANCE 

35MM  &  16MM  PROD.  PKG.  w/  DP  Complete 
package  w/  DP's  own  Am  35BL,  16SR, 
HMIs,  lighting,  dolly,  Tulip  crane,  camjib, 
DAT,  grip  &  5-ton  truck.  .  .  more.  Call  for 
reel:  Tom  Agnello  (201)  741-4367;  road 
toindy@aol.com. 

ACCOUNTANT/BOOKKEEPER/CONTROLLER 

Experience  in  both  corporate  &  nonprofit 
sectors.  Holds  MBA  in  Marketing  & 
Accounting.  Freelance  work  sought.  Sam 
Sagenkahn  (917)  374-2464. 

ANDREW  DUNN,  Director  of  Photography/ 
camera  operator  Arri35  BL3,  Aaton  XTRprod 
S16,  Sony  DVCAM.  Experience  in  features, 
docs,  TV  &  industrials.  Credits:  Dog  Run, 
Strays,  Working  Space/Working  Light.  (212) 
477-0172;  AndrewD158@aol.com. 

ARE  YOU  STUCK?  Fernanda  Rossi,  script  & 
documentary  doctor,  specializes  in  narra- 
tive structure  in  all  stages  of  the  filmmak- 
ing process,  including  story  development, 
fundraising  trailers  and  post-production. 
She  has  doctored  over  30  films  and  is  the 
author  of  Trailer  Mechanics.  For  private 
consultations      and      workshops      visit 


www.documentarydoctor.com  or  write  to 
info@documentarydoctor.com. 

COMPOSER  MIRIAM  CUTLER  loves  to  collab 
orate:  docs,  features.  Lost  In  La  Mancha/ 
IFC,  Scout's  Honor,  Licensed  To  Kill, 
Pandemic:  Facing  Aids/HBO,  Indian  Point/ 
HBO,  Positively  Naked/HBO,  Stolen 
Childhoods,  Amy's  O  &  more.  (310)  398- 
5985  mir.cut@verizon.net.  www.miriam 
cutler.com. 

COMPOSER:  Original  music  for  your  film  or 
video  project.  Will  work  with  any  budget. 
Complete  digital  studio.  NYC  area.  Demo 
CD  upon  request.  Call  Ian  O'Brien:  (201) 
222-2638;  iobrien@bellatlantic.net. 

DP  WITH  ARRI  SR  SUPER  16/16MM  and  35BL- 
2  camera  packages.  Expert  lighting  and 
camerawork  for  independent  films,  music 
videos,  etc.  Superb  results  on  a  short 
schedule  and  low  budget.  Great  prices. 
Willing  to  travel.  Matthew  617-244-6730 


Ramin  Andre  Fathie 

Director  of  ^kotoarccph^ 

Complete  HO.  SD,  Mini  DV  Packages 
Narrative,  Documentary,  Commercial  Projects 

General  Liability.  Equipment  Insurance,  Workman's  Comp 

Website  and  Online  Reel: 

www.viceroyfilms.com 

Phone:  212.725.9818 
E-mail:  ramin@viceroyfilms.com 


I    I    I    I    I 


FREELANCE  CAMERA  GROUP  IN  NYC  seeking 
professional  cameramen  and  soundmen 
w/  solid  Betacam  experience  to  work  w/ 
wide  array  of  clients.  If  qualified,  contact 
COA  at  (212)  505-1911.  Must  have  docu- 
mentary/news samples  or  reel. 

FUNDRAISING/GRANTWRITING/PROJECT 
DEVELOPMENT  :  Research,  writing  &  strat- 
egy for  production,  distribution,  exhibition 
&  educational  media  Successful  propos- 
als  to    NYSCA,    NEA,    Sundance,    ITVS, 


60  The  Independent  I  October  2005 


Rockefeller  Foundation,  Robeson 
Foundation.  Fast  writers,  reasonable 
rates.  Wanda  Bershen,  (212)  598-0224; 
ww.reddiaper.com. 

LOCATION  SOUND  Over  25  yrs  sound  exp. 
w/  timecode  Nagra  &  DAT,  quality  mics  & 
mixers.  Reduced  rates  for  low-budget 
projects.  Harvey  &  Fred  Edwards,  (518) 
677-5720;  (819)  459-2680;  edfilms@world 
net.att.net;  www.edwardsfilms.com. 

NEW  MUSIC  PRODUCTION  COMPANY  with 
many  years  combined  composing  experi- 
ence. Audioreel  provides  all  the  services 
that  you  may  require  for  your  production, 
from  scoring  to  picture,  too  flash  music  for 
websites. 

OPPORTUNITIES  I  GIGS 

50  WAYS  TO  IMPROVE  YOUR  VIDEO  BUSI- 
NESS. FREE  REPORT  Grow  a  successful 
video  business  in  Legal,  Wedding, 
Corporate,  TV  and  more.  http://videouni 
versity.com/50web.htm. 

CAREER  AND  SCRIPT  CONSULTANT  Emmy 
nominated  Ellen  Sandler  (Co-Executive 
Producer  "Everybody  Loves  Raymond") 
can  help  anyone  avoid  costly,  time  con- 
suming pitfalls  and  deadends  in  the 
Hollywood  game.  She  works  one  on  one 
with  you  on  pitching  skills,  script  rewrites, 
career  strategies,  including  networking  and 
relocating  to  Los  Angeles.  Her  approach 
follows  specific  guidelines  and  proven 
techniques,  but  is  always  customized  to 
the  specific  needs,  strengths  and  budget  of 
each  client.  Email:  elsand@comcast.net  for 
more  information  and  to  request  a  sample 
consultation  at  no  charge. 

FILMMAKING      INSTRUCTOR     NEEDED 

Concord  Academy  is  a  coeducational  inde- 
pendent boarding  and  day  school  of  340 
students  grades  9-12.  It  offers  a  rigorous 
liberal  arts  curriculum  in  which  the  arts 
play  an  important  role.  Members  of  the 
Visual  Arts  department  are  working  artists 
who  maintain  their  own  studios  and  exhib- 
it their  work.  The  Visual  Arts  Department 
is  looking  for  a  60-80%  time  filmmaking 
instructor.  Candidates  are  expected  to 
teach  three  levels  of  filmmaking  which 
includes  film  (Super  8  and  16mm),  video 


and  digital  video  production  and  post-pro- 
duction. Other  courses  could  include 
Screenwriting,  Film  History  and  New 
Media  Production.  Experience  with  Final 
Cut  Pro,  Avid  DV  express  pro  and  other 
graphic  software  helpful.  Production  expe- 
rience and  knowledge  of  film  history  and 
criticism  essential.  Teaching  experience 
and  MFA  preferred.  Instructor  supervises 
a  well-equipped  facility  with  the  help  of  a 
tech  assistant.  Duties  beyond  the  class- 
room include  advising  students  and  serv- 
ing on  committees.  To  apply  send 
resume,  teaching  philosophy  and  three 
references  to:  Cynthia  Katz,  Chair,  Visual 
Arts  Department  Concord  Academy,  166 
Main  Street  Concord,  MA  01742  Review 
of  applications  to  begin  November  1. 
Position  open  until  filled.  Finalists  will  be 
asked  to  submit  a  sample  reel.  No  tele- 
phone calls  please.  For  questions,  email 
cynthia_katz@concordacademy.org. 
Concord  Academy  actively  seeks  appli- 
cants who  reflect  and  support  our  mis- 
sion-driven commitment  to  creating  and 
maintaining  a  diverse  and  inclusive  school 
community. 

NEW  EDUCATIONAL  DISTRIBUTOR  looking 
for  non-fiction  films  for  non-exclusive  dis- 
tribution. Have  you  produced  a  film  deal- 
ing with  the  delicate  mix  of  religion, 
ethics,  and  public  policy?  Please  send  a 
DVD  plus  100  word  synopsis  to  Vital 
Visuals  Educational  Media,  16  Brewster 
Ln.,  Oak  Ridge,  TN  37830.  Email: 
mfo@vitalvisuals.com. 

POSTPRODUCTION 

BRODSKY  &  TREADWAY:  film-to-tape  trans 
fers,  wet-gate,  scene-by-scene,  reversal 
film  only.  Camera  original  Regular  8mm, 
Super  8,  and  16mm.  For  appointment  call 
(978)  948-7985. 

CERTIFIED  FINAL  CUT  PRO  INSTRUCTOR  AND 
EDITOR:  DV  and  Beta  SP  -  learn  Final  Cut 
Pro  from  professional  editor  and  Apple 
Certified  instructor.  Log  onto 
www.HighNoonprod.com  or  call  917-523- 
6260;  e-mail:  lnfo@HighNoonProd.com. 

PRODUCTION  TRANSCRIPTS:  Verbatim  tran- 
scription service  for  documentaries, 
journalists,  film  and  video.  Low  prices  & 


flat  rates  based  on  tape  length,  www.pro 
ductiontranscripts.com  for  details  or  call: 
(888)  349-3022. 


PREPRODUCTION  I 
DEVELOPMENT 

GET  YOUR  SCREENPLAY  READY  FOR  PRODUC- 
TION! Former  Miramax  story  analyst, 
School  of  Visual  Arts  professor  and  author 
of  Aristotle's  Poetics  for  Screenwriters 
(Hyperion,  August  2002),  will  analyze  your 
screenplay  and  write  you  constructive  in- 
depth  studio  style  notes.  Since  I'm  an 
independent  filmmaker,  I  specialize  in 
helping  filmmakers  get  their  scripts  ready 
for  shooting.  Face  it.  You're  going  to  spend 
a  lot  of  money  to  make  your  film.  Spend  a 
little  up  front  to  make  sure  your  script 
works.  It's  the  ONLY  way  to  pull  off  a  low 
budget  film  effectively!  It  will  cost  you 
1000  times  more  to  fix  script  problems 
AFTER  the  production  begins.  Reasonable 
rates,  references.  Michael  Tierno,  mtier 
no@nyc.rr.com. 

W/     8     YEARS     MIRAMAX     EXPERIENCE. 

script/story/creative  consultant  Maureen 
Nolan  offers  a  full  range  of  consulting  serv- 
ices for  writers  and  filmmakers.  Script  con- 
sults, coaching,  story  development, 
rewrites,  etc.  212-663-9389  or  917-620- 
6502. 

WEB 

WEB  SITE  DESIGNER:  Create  multimedia 
websites,  integrating  video,  sound,  and 
special  effects,  that  promote  your  films 
and/or  your  company,  www.____________- 
design.com.  Info:  ______  ______,  phone: 
___-___-____,  email:  ______@______.net. 


October  2005  I  The  Independent    61 


V 


V* 


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f  Filmmaking  Starts  Here* 

i,ooos  of  projects  in  development 
450  films  screened 

350  production /distribution  companies 
100s  of  films  green  I  it 


**"S» 


*    — .    •£..*#■» 


'    .       J- 


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American  Film  Market 


november  2-9,  2005 


Strategic  Partners 


AVFiii     O00D     * 

Audi 


Canadian  Film 
Commissions  & 
Agencies 


The  Reporter 


r  Singapore  Film 
Commission 


MM  ffimn  IjErir^"  Screen  (§) 


AFI  FEST  2005 


www.AFI.com 


NOV  3-1 3 
GOOD 

AuOl 


www.americanfilmmarket.com  •  registration2005@ifta-online.org  •  The  American  Film  Market  is  produced  by  the  Independent  Film  &  Television  Alliance' 


THANK  YOU 


The  Association  of  Independent  Video  and  Filmmakers 
(AIVF)  provides  a  wide  range  of  programs  and  services 
for  independent  moving  image  makers  and  the  media 
community,  including  The  Independent  and  a  series  of 
resource  publications,  seminars  and  workshops,  infor- 
mation services,  and  arts  and  media  policy  advocacy. 

None  of  this  work  would  be  possible  without  the 
generous  support  of  the  AIVF  membership  and  the 
following  organizations: 

We  also  wish  to  thank  the  following  individuals  and 
organizational  members: 


W 


NYSCA 


O 

PBS 


City  of  New  York  Dept.  of  Cultural  Affairs 

Discovery  Wines 

Experimental  Television  Center  Ltd. 

Forest  Creatures  Entertainment,  Inc. 

Home  Box  Office 

The  Jewish  Communal  Fund 

John  D.  and  Catherine  T.  MacArthur  Foundation 

The  Nathan  Cummings  Foundation 

The  National  Endowment  for  the  Arts 

New  York  State  Council  on  the  Arts 

The  Norman  and  Rosita  Winston  Foundation 

PBS 

Yuengling  Beer 

The  Advertising  Club 


BUSINESS/INDUSTRY  MEMBERS:  CA:  llluminaire  Entertainment; 
SJPL  Films,  Ltd.;  CO:  CU  Film  Studies,  Pay  Reel;  CT:  Anvil 
Production;  DC:  Corporation  for  Public  Broadcasting;  FL:  Key 
West  Films  Society;  New  Screen  Broacasting;  GA:  Lab  601  Digital 
Post;  IL:  Shattering  Paradigms  Entertainment,  LLC;  MA:  Exit  One 
Productions;  MD:  NewsGroup,  Inc.;  TLF  Limited  Management; 
Ml:  Logic  Media  LLC;  MS:  Magnolia  Independent  Film  Festival; 
NH:  Kinetic  Films;  NY:  Baraka  Productions;  Cypress  Films; 
Deutsch/Open  City  Films;  Docurama;  Forest  Creatures 
Entertainment;  getcast.com;  Gigantic  Brand;  Harmonic  Ranch; 
Lantern  Productions;  Larry  Engel  Productions  Inc.;  Lightworks 
Producing  Group;  Mad  Mad  Judy;  Metropolis  Film  Lab;  Missing 
Pixel;  Off  Ramp  Films,  Inc.;  On  the  Prowl  Productions;  OVO; 
Possibilites  Unlimited;  Production  Central;  Range  Post;  Robin 
Frank  Management;  Rockbottom  Entertainment,  LLC;  The 
Outpost;  Triune  Pictures;  United  Spheres  Production;  OR:  Media 
Del'Arte;  Rl:  The  Revival  House;  VA:  Karma  Communications  Film 
&  Video;  WA:  Sound  Wise;  Two  Dogs  Barking; 

NONPROFIT  MEMBERS:  AR:  Henderson  State  University; 
CA:  Bay  Area  Video  Coalition;  California  Newsreel;  Everyday 
Gandhis  Project;  Film  Arts  Foundation;  International  Buddhist  Film 
Festival;  NAATA/Media  Fund;  NALIP;  Sundance  Institute;  USC 
School  of  Cinema  and  TV;  CO:  Denver  Center  Media;  Free  Speech 
TV:  CT:  Hartley  Film  Foundation;  DC:  American  University  School 
of  Communication;  CINE;  FL:  Miami  International  Film  Festival; 
University  of  Tampa;  GA:  Image  Film  and  Video  Center;  HI:  Pacific 
Islanders  in  Communications;  IL:  Community  Television  Network; 
Department  of  Communication/NLU;  Kartemquin  Films;  IN:  Fort 
Wayne  Cinema  Center;  KY:  Appalshop;  MA:  CCTV;  Documentary 
Educational  Resources;  Harvard  University,  OsCLibrary;  LTC;  MD: 
Laurel  Cable  Network;  Silverdocs:  AFI  Discovery  Channel  Doc 
Festival;  ME:  Maine  Photographic  Workshop;  Ml:  Ann  Arbor  Film 
Festival;  MN:  IFP/MSP;  Walker  Art  Center;  MO:  dhTV;  Webster 
University  Film  Series;  NC:  Broadcasting/Cinema;  NE:  Nebraska 
Independent  Film  Project/AIVF  Salon  Lincoln;  NJ:  Black  Maria  Film 
Festival;  Capriole  Productions;  Freedom  Film  Society,  Inc.; 
Princeton  University,  Program  in  Visual  Arts;  NM:  Girls  Film 
School;  University  of  New  Mexico;  NY:  ActNow  Productions;  Arts 
Engine;  Cornell  Cinema;  Council  for  Positive  Images,  Inc.;  Creative 
Capital  Foundation;  Crowing  Rooster  Arts;  Dutchess  Community 


College  Student  Activites;  Educational  Video  Center;  Experimental 
TV  Center;  Film  Forum;  Film  Society  of  Lincoln  Center;  Firelight 
Media;  International  Film  Seminars;  LMC-TV;  Manhattan 
Neighborhood  Network;  National  Black  Touring  Circuit;  National 
Black  Programming  Consortium;  National  Musuem  of  the 
American  Indian;  National  Video  Resources;  New  York  University, 
Cinema  Studies;  New  York  Women  in  Film  and  Television; 
Parnassus  Works;  POV/The  American  Documentary;  RIT  School 
of  Film  and  Animation;  Squeaky  Wheel;  Standby  Program; 
Stonestreet  Studios  Film  and  TV  Acting  Workshop;  Stonestreet 
Studios  Film  and  Television  Acting  Workshop;  Stony  Brook  Film 
Festival;  Syracuse  University;  United  Community  Centers; 
Upstate  Films,  Ltd.;  Witness;  Women  Make  Movies;  OH:  Athens 
Center  for  Film  And  Video;  Independent  Pictures/AIVF  Ohio  Salon; 
Media  Bridges  Cincinatti;  School  of  Film,  Ohio  University;  Wexner 
Center;  OR:  Northest  Film  Center;  The  Oregon  Film  &  Video 
Foundation;  PA:  American  INSIGHT,  Inc.;  TeamChildren.com;  Rl: 
Flickers  Arts  Collaborative;  SC:  Department  of  Art,  University  of 
South  Carolina;  South  Carolina  Arts  Commission;  TX:  Austin  Film 
Society;  Houston  Film  Commission;  Southwest  Alternate  Media 
Project;  University  of  Texas  RTF;  UT  Sundance  Institute;  WA: 
Seattle  Central  Community  College;  Canada:  Cinematheque 
Quebecoise  Musee  Du  Cinema;  Banff  Centre  Library;  France: 
The  Carmago  Foundation 

FRIENDS  OF  AIVF:  Angela  Alston,  Sabina  Maja  Angel,  Tom 
Basham,  Aldo  Bello,  David  Bemis,  Doug  Block,  Liz  Canner,  Hugo 
Cassirer,  Williams  Cole,  Anne  del  Castillo,  Arthur  Dong,  Martin 
Edelstein,  Esq.,  Aaron  Edison,  Paul  Espinosa,  Karen  Freedman, 
Lucy  Garrity,  Norman  Gendelman,  Debra  Granik,  Catherine  Gund, 
Peter  Gunthel,  David  Haas,  Kyle  Henry,  Lou  Hernandez,  Lisa 
Jackson,  John  Kavanaugh,  Stan  Konowitz,  Leonard  Kurz,  Lyda 
Kuth,  Steven  Lawrence,  Bart  Lawson,  Regge  Life,  Juan 
Mandelbaum,  Diane  Markrow,  Tracy  Mazza,  Leonard  McClure, 
Daphne  McDuffie-Tucker,  Jim  McKay,  Michele  Meek,  Robert 
Millis,  Robert  Millis,  Richard  Numeroff,  Elizabeth  Peters,  Laura 
Poitras,  Robert  Richter,  Hiroto  Saito,  Larry  Sapadin,  James 
Schamus,  John  Schmidt,  Nat  Segaloff,  Robert  Seigel,  Gail  Silva, 
Innes  Smolansky,  Barbara  Sostaric,  Alexander  Spencer,  Miriam 
Stern,  George  Stoney,  Rhonda  Leigh  Tanzman,  Rahdi  Taylor,  Karl 
Trappe,  Jane  Wagner,  Bart  Weiss 


October  2005  I  The  Independent    63 


THE  LIST 


Superior  Scripts 


By  Erica  Berenstein 


We  asked  writers  to  tell  us  about  the  best  screenplay  they  have  ever  read — 
whether  or  not  the  film  (if  it  was  made)  lived  up  to  its  promise.  Here  are  their  responses. 


"Monty  Python  and  the  Holy  Grail.  It's  hilarious,  and  30  years 
later,  people  are  still  quoting  it." 

— Steve  Hutton,  writer/producer, 
The  Night  Life  (2004)  and  Fluff '(2003) 

"I  am  a  terrible  screenplay  reader.  I  tend  to  get  completely 
overwhelmed  by  the  awareness  that  directors  and  actors  could 
take  the  project  in  an  infinite  number  of  directions,  and  when 
asked  my  opinion  of  the  script,  I  feel  as  helpless  as  I  would  if  a 
rock  band  handed  me  sheet  music  of  their  songs  and  asked  me 
if  I  thought  they  kicked  ass  or  not.  So  all  that  said,  the  most  fun 
screenplays  to  read  are  the  ones  that  probably  will  never  get 
made,  the  ones  that  are  so  out-of-control  on  the  page  that 
investors  fear  that  not  even  the  great  machinery  of  film  produc- 
tion can  reign  them  in.  To  that  end,  I'd  nominate  my  friends 
Adam  Mansbach  and  Douglas  Mcgowan's  unproduced  action 
screenplay  Nature  of  the  Beast as  my  favorite,  as  it  is  a  controlled 
and  tempered,  yet  deep  down  snarlingly  delirious  piece  of 
writing,  and  it's  unlikely  anyone  would  dare  risk,  let  alone  suc- 
ceed, in  capturing  its  excesses  on  film." 

— Andrew  Bujalski,  director,  Funny  Ha  Ha  (2003) 

"The  best  screenplay  I've  ever  read  is  Toy  Story.  Although  it's 
best  known  for  its  groundbreaking  visuals,  the  script  oozes 
creativity,  humor,  and  heart.  It's  no  wonder  the  screenplay  was 
nominated  for  an  Oscar." 

— Sam  Chen,  director/animator,  Eternal  Gaze  (2003) 

"Paddy  Chayefsky's  Network,  because  it  is  so  thorough  in  lay- 
ing out  what  the  film  is  about,  what  the  tone  of  the  piece  is,  and 


what  direction  each  actor,  and  even  the  director,  should  take  the 
film  in  (while  not  limiting  them)  that  the  screenplay  truly  is  a 
'script'  for  the  final  brilliant  film.  The  dialogue  is  so  bloody 
interesting,  the  film  has  a  fantastical  quality  that  lends  itself  to 
superior  satire,  and  each  character,  no  matter  how  small,  is 
relevent  to  the  larger  tapestry." 

— Richie  Mehta,  writer/director,  Amal{20§4) 

"The  best  script  I've  read  is  Stigmata  because  it  is  the  one  that 
I  got  the  most  out  of  in  terms  of  improving  my  writing.  I  actu- 
ally didn't  care  for  the  story  that  much,  but  author  Tom  Lazarus, 
who  also  wrote  Secrets  of  Film  Writing,  helped  me  understand 
that  we  tend  to  spend  too  much  time  describing  camera  moves 
and  details  that  don't  contribute  to  the  story.  Thanks  to 
Stigmata  I've  learned  to  make  my  scripts  more  simple,  readable, 
and  enjoyable." 

— Alberto  Ferreras,  partner  in  Latin  Media  Works  and 

director,  Bigger  (2004) 

"I  don't  know  if  there's  a  'best'  on  my  list.  Certainly  there  are 
several  favs.  Up  there  at  the  top,  and  certainly  one  that  won't  be 
mentioned  too  often  by  others,  is  Good  Will  Hunting.  I  admire 
the  script  because  it  takes  chances  within  the  mainstream  arena. 
It's  easy  to  take  chances  with  dialogue  or  direction  in  an  indie — 
that's  what  indies  are  for.  But  Matt  Damon's  monologues,  while 
sometimes  purple,  push  up  against  what's  expected  for  a  film  of 
its  genre.  And  when  you  consider  the  age  of  the  screenwriters  at 
the  time  they  wrote  it — when  most  of  us  writers  didn't  know 
what  to  say — it's  all  the  more  impressive." 

— David  Israel,  author,  Behind  Everyman 


64  The  Independent  I  October  2005 


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THE 


November  2005 


Film  Funds.  Marketing  Tools.  Festival  Listings. 


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David  Strathairn  on  the 
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OXFORD  UNIVERSITY 

St.  Catherine's  College  in  the 
University  of  Oxford,  UK 

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WWW.NYFA.COM 


DIRECTOR 


ONE  YEAR 


Directing  for  Film  •  Acting  for  Film 

Screenwriting  •  Producing 
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film  &  acting  school  in  the  world: 

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For  more  dates, 
o  to  www.nyfa.com 


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OXFORD  UNIVERSITY 
FLORENCE,  ITALY 
PARIS,  FRANCE 


NEW  yCCI\  flL/Vi  ACADEMy 


ENGLAND 

St.  Catherine's  College  in  the  University  of  Oxford 

Manor  Road,  Oxford,  OX1  3UJ,  United  Kingdom 

tel  020-7848-1523  •  fax  020-7848-1443 

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NEW  YORK  CITY 

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New  York  City  10003 
tel  212-674-4300  •  fax  212-477-1414 
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tel  818-733-2600  •  fax  818-733-4074 

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All  workshops  are  solely  owned  and  operated  by  the  New  York  Film  Academy  and  are  not  affiliated  with 
Harvard  University,  Princeton  University,  St.  Catherine's  College  in  the  University  of  Oxford,  Universal  or  Disney-MGM  Studios.  'Summer  only. 


Volume  28  Number  9 

Cover:  David  Strathairn  in  Good  Night,  and  Good  Luck 

[photo  by  Melinda  Sue  Gordon;  courtesy  Warner  Independent  Pictures] 


Contents 


Upfront 


5  EDITOR'S  LETTER 

6  CONTRIBUTORS 
9  NEWS 

Filmmakers  in  New  Orleans  keep  the  cameras 
rolling;  Cinequest  to  distribute  festival  winners  via 
Netflix;  indieWIRE  relaunches  website 
By  Amy  Zavatto 

14  UTILIZE  IT 

Tools  and  news  you  can  use 
By  David  Aim 

1 6  ON  DVD 

Reviews  of  films  now  available  on  DVD 
By  Shana  Liebman 

18  FIRST  PERSON 

How  one  writer  uses  iMovie  to  animate  his  blog 
By  Allen  Salkin 

22  DOC  DOCTOR 

The  best  affordable  format  to  master  your  film; 
when  to  hire  a  techie  to  help  in  post-production 
By  Fernanda  Rossi 

24  ON  LOCATION 

The  pros  and  cons  of  shooting  in  New  York  City 
By  Katherine  Dykstra 

26  ON  THE  SCENE 

After  the  split:  Michelle  Byrd  rebuilds  IFP  NY 
By  Elizabeth  Angell 

28  Q/A 

David  Strathairn  talks  about  playing  Edward  R. 
Murrow  in  Good  Night,  and  Good  Luck 
By  Rebecca  Carroll 


Features 


32  FILM  SHARING 

Indies  make  headway  on  the  digital  frontier 
By  Elizabeth  Angell 

36  FALLING  DOWN 

An  unusual  upswing  for  one  indie  filmmaker- 
thanks  to  HDNet  Films 
By  Ethan  Alter 

40  THINKING  OUTSIDE  THE  CAN 

What  happens  when  35mm  goes  digital? 
By  Derek  Loosvelt 


44  BOOKS 

Hillman  Curtis  on  Creating  Short  Films  for  the  Web 
By  Brandon  Hopkins 

44  LEGAL 

New  technology  clauses  determine  where  your 
film  ends  up:  mobile  phone  or  Pay  Per  View? 
By  Fernando  Ramirez,  Esq. 


Listings 

50  FESTIVALS 
56  CLASSIFIEDS 
59  NOTICES 
62  WORK  WANTED 

71  THANKS 

72  THE  LIST 


www.aivf.org 


November  2005  I  The  Independent    3 


QJJU 

Kim 


SEMINARS 


LEARIV  FILMMAKING 


H:iihM£v*2nrnrarr 


Script 
EXCELLE 


Shot-by-Shot* 

FROMlPAGE'TO  SCREEN  WITH 


SCRIPTED  SCENES  &  FILM  CLIPS 


Angeles:  Oct  15  ^|^Ne^^^0c 
!P  :/iaencMNov  12  &  I3ffr3t.  LauderdalelNdvI1[9I&T20 


MBHi 


www.actioncut:com 


(BOO]  815-5545/ 
Home  Courses  an  DVD  ilm  Competition 


■  |    RLM  AND  VIDEO  MONTHC  I 

Independent 


Publisher:  Bienvenida  Matias 

[publisher@aivf.org] 

Editor-in-Chief:  Rebecca  Carroll 

[editor@aivf.org] 

Managing  Editor:  Shana  Liebman 

[independent@aivf  org] 

Associate  Editor:  Katherine  Dykstra 

|fact@aivf  org] 

Designer:  R.  Benjamin  Brown 

[benbrowngraphic@msn.com] 

Production  Associate:  Timothy  Schmidt 

[graphics@aivf.org] 

Editorial  Associate:  Erica  Berenstein 

[notices@aivf.org] 

Contributing  Editors: 

Sherman  Alexie,  David  Aim,  Pat  Aufderheide, 

Monique  Cormier,  Bo  Mehrad.  Cara  Mertes,  Kate  Turtle 

Contributing  Writers: 

Elizabeth  Angell,  Margaret  Coble,  Lisa  Selin  Davis, 

Matt  Dunne,  Gadi  Harel,  Rick  Harrison 

Advertising  Representative:  Veronica  Shea 

(212)  807-1400  x232;  [veronica@aivf.org] 

Advertising  Representative:  Michael  Tierno 

(2121  807-1400  x234,  [mike@aivf.org] 

Classified  Advertising:  Michael  Tierno 

(212)  807-1400  x241,  [classifieds@aivf.orgl 

• 

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The  Independent  (ISSN  1077-8918)  is  published  monthly  (except 
combined  issues  January/February  and  July/August)  by  the 
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©  Foundation  for  Independent  Video  &  Film,  Inc.  2005 
Visit  The  Independent  online  at:  www.aivf.org 


4  The  Independent  I   November  2005 


EDITOR'S  LETTER 


Dear  Readers, 

I'm  back  from  maternity  leave — although  I 
can't  say  that  I'm  particularly  well-rested,  so 
my  disclaimer  straight  out  of  the  gate  is  that 
any  and  all  errors  in  this  issue  can  be  attrib- 
uted to  the  fact  that  I  haven't  really  slept  in 
two  months.  Luckily,  my  deputy  editor, 
Shana  Liebman,  who  did  a  bang-up  job  with 
the  October  issue,  as  expected,  is  tracing  my 
steps  to  make  sure  that  I  don't  walk  into  a  wall 
(or  that  I  don't  walk  into  a  wall  twice).  And 
our  fantastic  associate  editor,  Katherine 
Dykstra,  who  also  serves  as  our  copy  editor 
and  fact  checker,  is  meticulously  thorough. 
The  issue  should  be  clean.  However,  if  you're 
reading  an  article,  especially  as  this  issue 
focuses  on  technology,  which  even  if  I  had 
slept  a  full  night  in  the  last  two  months  would 
not  be  my  strong  suit,  and  suddenly  it  starts 
talking  about  breast  pumps  and  immuniza- 
tion shots... well,  the  next  issue  will  be  better. 

I  think  technology  has  only  one  job:  to  be 
innovative.  Though  it  should  also  be  accessi- 
ble and  cool,  and  should  work.  But  really,  its 
only  job  in  the  21st  century  is  to  be  innova- 
tive. For  filmmakers,  this  means  endless  possi- 
bilities for  getting  your  films  seen.  While  I'm 
no  fan  of  personal  blogging — I  actually  think 
it's  about  the  most  solipsistic  thing  you  can  do 
with  your  creative  time,  but  that's  just  me — 
throw  some  movie-making  software  into  the 
mix  and  it  can  get  kind  of  interesting. 
Freelance  writer  and  author  of  the  upcoming 
book,  Festivus:  The  Holiday  for  the  Rest  of  Us, 
Allen  Salkin,  none  too  fearful  of  self-promo- 
tion, walks  us  through  the  making  of  a  blog 
movie  in  his  quirky  and  spirited  piece,  iBlog 
Therefore  iAm  (pg  18).  My  all-star  regular 


contributors,  Elizabeth  Angell  and  Derek 
Loosvelt,  both  delved  smartly  into  bold  new 
worlds — video  on  demand  (VOD)  and  the 
future  or  digital  projection  (pgs  32  and  40 
respectively  ) — and  delivered  pieces  with  great 
style  and  intelligence. 

Elizabeth  Angell  did  double  duty  for  this 
issue,  also  reporting  on  the  rebuilding  of  IFP 
NY  post-split  with  IFP  LA — now  Film 
Independent  or  FIND  (pg  26).  Angell  talked 
with  IFP  Executive  Director  Michelle  Byrd, 
who  confidently  stated  that  the  New  York- 
based  organization  "can  be  very  nimble"  and 
is  "not  a  massive  monstrosity  that  can't  move 
without  12  other  moving  parts."  All  right 
then. 

We  have  a  couple  of  new  columns — a 
roundup  of  newly  released  DVDs  (pg  16), 
and  an  On  Location  piece,  which  will  high- 
light different  spots  where  shooting  inde- 
pendent films  is  relatively  free  and  easy,  or  at 
least  relatively  easy.  On  Location  this  month 
(pg  24),  is  New  York  because,  as  film  produc- 
er Michael  Mailer  put  it  quite  beautifully, 
"There's  a  certain  universal  aura  to  the  city.  It 
behooves  any  filmmaker  to  capture  that,  and 
il  you  can,  there's  great  production  value." 

For  my  Q/A  this  issue,  I  interviewed  the 
disarmingly  debonair  David  Strathairn,  who 
appeared  as  Edward  R.  Murrow  in  George 
Clooney's  Good  Night,  and  Good  Luck,  which 
opened  in  September.  We  tried  to  figure  out 
how  film  and  television  has  become  our  new 
literature  and  what  that  means  for  us  exactly. 
Strathairn  offered  up  the  following:  "We're 
looking  in  someone's  dirty  laundry  bag  and 
pulling  out  their  dirty  underwear,  and  we  are 
looking  to  see  how  we  love  each  other  and 
how  we  kill  each  other."  Sadly,  we're  also 
believing  it  (pg  28). 

Enjoy,  and  thanks  for  reading 

The  Independent, 

Rebecca  Carroll 

Editor-in-Chief 


I 


Global, 

Total 

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EXCLUSIVE: 

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November  2005  I  The  Independent    5 


CONTRIB  UTORS 


ETHAN  ALTER  is  a  New  York-based 
film  critic  and  journalist  whose  work  has 
appeared  in  a  variety  of  publications, 
including  Entertainment  Weekly,  TV 
Guide,  and  FHM.  He  regularly  reviews 
movies  for  Film  Journal  International  and 
Cineman  Syndicate,  as  well  as  on  his  web- 
site, www.nycfilmcritic.com. 

DAVID  ALM  teaches  film  history  and 
writing  at  two  colleges  in  Chicago.  His 
writing  has  appeared  in  ArtByte, 
Camerawork,  RES,  Silicon  Alley  Reporter, 
SOMA,  and  The  Utne  Reader.  He's  also 
contributed  to  books  on  web  design  and 
digital  filmmaking,  and  assisted  in  mak- 
ing documentaries  about  architecture  and 
garbage. 

ELIZABETH  ANGELL  is  a  freelance 
writer  living  in  New  York.  She  recently 
received  an  MFA  in  creative  writing  from 
Columbia  and  is  at  work  on  her  first 
book. 


appeared  in  Time  Out  New  York,  Fodor's 
travel  guides,  Redbook,  and 
Ironminds.com.  She  is  a  recent  graduate 
of  The  New  School  University's  nonfic- 
tion  MFA  program.  And  she  spends 
Wednesday  afternoons  teaching  creative 
writing  to  the  coolest  kids  in  Harlem. 

BRANDON  HOPKINS  is  a  free- 
lance writer  and  editor  living  in 
Brooklyn.  He  holds  an  MA  in  the 
humanities  from  the  University  of 
Chicago  and  has  written,  produced,  and 
co-directed  a  number  of  short  films.  He 


KATHERINE  DYKSTRA,  The 
Independent's  associate  editor,  is  also  a 
contributor  at  The  New  York  Post  and  a 
freelance  writer  and  editor.  Her  work  has 


is  currently  writing  his  second  feature- 
length  screenplay  while  finishing  his 
first  novel. 

DEREK  LOOSVELT  is  a  writer  and 
editor  living  in  Brooklyn.  He  holds  a  BS 
in  economics  from  the  University  of 
Pennsylvania  and  an  MFA  in  creative 
writing  from  The  New  School. 

FERNANDO  RAMIREZ,  ESQ.  is 
an  attorney  in  private  practice  in  New 
York  City  where  he  lives  with  his  wife 
and  12-year-old  son/aspiring  doc- 
maker.  He  graduated  from  Fordham 
University  and  earned  his  law  degree 
from  Brooklyn  Law  School.  His  work 
involves    transactional    entertainment 


law.  He  drafts,  reviews,  and  negotiates 
industry  agreements,  and  he  advises  on 
copyright,  trademark,  contracts,  privacy, 
and  business  formation  matters  for  inde- 
pendent filmmakers,  executive  produc- 
ers, media  personalities,  songwriters, 
personal  managers,  independent  labels, 
and  nonprofit  film  organizations. 

FERNANDA  ROSSI,  known  as  the 
Documentary  Doctor,  is  a  filmmaker 
and  story  consultant  who  helps  filmmak- 
ers craft  the  story  structure  of  their  films 
in  all  stages  of  the  filmmaking  process. 
She  has  doctored  over  100  documen- 
taries and  fiction  scripts,  and  is  the 
author  of  Trailer  Mechanics:  A  Guide  to 
Making  Your  Documentary  Fundraising 
Trailer.  For  more  info:  www.documen 
tarydoctor.com. 

ALLEN  SALKIN  is  the  author  of 
Festivus:  The  Holiday  for  the  Rest  of  Us. 
Known  for  his  ability  to  "find  the  sociol- 
ogy in  anything,"  he  has  written  for  the 
New  York  Times,  The  Atlantic  Monthly, 
Details,    Heeb  and    Yoga  Journal  about 


6  The  Indepen  lent  I   November  2005 


robot  dogs,  waterbeds,  judicial  corrup- 
tion, dicey  golf  course  projects,  guilt 
and  air-conditioning.  More  info  at 
www.allensalkin.com. 

AMY  ZAVATTO  writes  about  food, 
wine,  spirits,  entertainment,  and 
celebrities  for  Food  &  Wine,  New  York, 
Gotham,  Hamptons,  TimeOut  New  York, 


TimeOut  New  York  Kids,  Celebrity 
Living,  and  Zink  magazines,  as  well  as 
TimeOut  New  York's  Eating  and 
Drinking  Guide  and  The  New  Haven 
Advocate.  Her  work  has  also  appeared  in 
Jane  and  Atomic,  and  she  is  the  co- 
author of  The  Renaissance  Guide  to  Wine 
&  Food  Pairing  and  author  of  The 
Complete  Idiot's  Guide  to  Bartending. 
She  freely  cops  to  giddily  following 
Steve  Buscemi  on  the  F  train  more  than 
once  and  misses  the  days  when  she  had 
an  apartment  around  the  corner  from 
the  Film  Forum.  She  lives,  eats,  and 
drinks  in  New  York  City  with  her  hus- 
band Dan  Marotta  and  their  dog,  Sally. 


City  Lights  Media  Group  and  AIVF  present 


\KMi 


SCORING  FOR  FILM  and  TELEVISION: 

Music,  Rights,  and  Clearances 

November  16th  or  17th  6:30 -8:30  at  city  ugms  Media 

Scheduled  panelists  twith  more  to  be  announced): 

AIVF  Members  $25  /  General  Public  $40  for  one  evening      John  Califra.  Composer  Credits:   "My  Brother",  directed  by  Tony  Lover, 
Please  call  212-807-1400  ext  301       starring  Vanessa  Williams.  "Tarnation".  "Easter  Egg  Adventure" 
visit  www  aivf  org  tor  recommended  reservation 

Brooke  Wentz,  Owner.  "The  Rights  Workshop"  Music  Supervisor.  Has  worked 
for  ESPN  as  Music  Director,  A&R.  Arista  Records 


AVF 


get  it  made 


City  Lights  Media  Group,  Ire       6  East  39th  Street.  2nd  Floor       Now  York.  New  York  10016       212  679  4460  ext.  5229 


November  2005  I  The  Independent    7 


"Today,  SXSW  is  a  destination  test  and  a  mainstay  of  the  independent  film  calendar. 
-  Variety 


T 


n 


\~ 


V 


i 


MARCH  10-18  2006 1  AUSTIN 

Go  to  sxsw.com  for  early-bird  registration 
discounts  and  film  submission  applications. 


Film  submission  early  deadline  is  November  14. 
Final  deadline  is  December  5. 

Student  registration  discounts  available. 


m 


THE  SOUTH  BY  SOUTHWEST 
FILM  CONFERENCE  &  FESTIVAL 

has  succeeded  in  its  attempt  to 
blend  enthusiastic  crowds  with 
the  leaders  of  the  film  industry. 
New  filmmakers  and  veteran 
audiences  come  together  with 
veteran  filmmakers  and  new 
audiences,  for  a  one-of-a-kind 
festival.  Between  educational 
panels  and  premiere  screenings, 
SXSW  Film  has  maintained  its 
vision  of  celebrating  ingenuity. 
For  once,  here's  film  indepen- 
dence you  can  depend  on.  You 
can  submit  your  film  online  at: 
www.sxsw.com/film 


Membership  Includes 


-National  Workshops 
-On-Line  Resources 


-10  Issues  of  The  Independent 
-Discounts  on  Business  Essentials* 


SUBSCRIBE  TODAY 

BECOME  A  MEMBER  OF  AIVF 
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I,,, UN, nil Il,l„l„.ll...llll...l.l....ll.l 


NEWS 


Rolling 


in  New  Orleans 


The  city's  filmmakers  keep 
the  cameras  steady 


^     j\     Jhen  one  of  the  most  cinematic 

W  cities  in  America  gets  a  close- 
up  not  for  its  raw,  moody, 
urban  beauty,  but  for  a  gruesome  natural 
and  neglectful  tragedy  of  Biblical  propor- 
tions, its  natural  to  wonder  how,  exactly, 
its  local  film  community  views  the  situa- 
tion— as  both  observer  and  victim. 

Within  days  of  Hurricane  Katrina's 
wallop  and  the  subsequent  devastating 
flood  caused  by  broken  portions  of  Lake 
Pontchartrain's  levee — an  avoidable 
wreckage  that  put  more  than  80  percent 


of  the  below-sea-level  city  under  water, 
left  hundreds  dead,  and  thousands  home- 
less— Louisiana  film  executives  were 
doing  damage  control  at  the  Toronto 
International  Film  Festival,  hoping  to 
maintain  the  momentum  that  has  lured 
many  big-production  films  to  the  state. 
In  2004,  the  Louisiana  film  industry 
brought  in  $377  million  in  much-needed 
revenue,  and  many  were  banking  on 
2005  topping  that.  "Film  production  can 
still  come  to  Louisiana,"  insisted 
Louisiana  Production  Capital  President 


November  2005  I  The  Independent    9 


Do  you  want  an 

attorney  who 

watches  movies, 

or  an  attorney  who 

makes  them? 


It's  4  AM...  you're  worrying  if 
the  script  is  tight  enough... 
if  your  casting  director  can  find 
a  last-minute  replacement.... 
if  you've  violated  any  SAG 
rules...  if  you  have  enough  cash. 

Been  there,  done  that. 

Mark  Costello,  Esq. 

Wrote,  produced  and  sold  a 
feature  length  comedy. 

Film  production  counsel  to 
independent  filmmakers. 

Municipal  counsel  on 
Woodstock  '99. 

Member  of  the  Executive 
Committee  of  Entertainment, 
Arts  and  Sports  Law 
Attorneys. 

,«  ■!  Boylan,  Brown, 

■  ■<  Code.  Vigdor  &  Wilson,  llp 

I  ATTORNEYS  AT  LAW 

Office  (585)  232-5300 

Fax  (585)  238-9055 
mac@boylanbrown.com 


Will  French  in  an  interview  with  the 
New  York  Times.  Some  agree;  some  don't. 

According  to  Alex  Schott,  director  of 
Louisiana's  Office  of  Film  and  Television, 
several  productions,  like  the  $150  million 
Disney  project  The  Guardian  starring 
Kevin  Costner,  have  simply  moved  north 
to  Shreveport,  taking  advantage  of  state 
tax  break  incentives  for  film  production 
and  saving  in  relocation  costs.  Others  like 
The  Last  Time,  with  Brendan  Fraser  and 
Michael  Keaton,  have  abandoned  ship 
entirely. 

Meanwhile,  all  within  a  week  of  the 
Katrina  calamity,  Louisiana  Institute  of 
Film  Technology  (LIFT)  Productions, 
which,  pre-Katrina,  had  nine  projects  in 
production  or  pre-production  with  over 
$100  million  at  stake,  put  together  a  $1.5 
million  package  to  aid  the  Louisiana  film 
workers  and  their  families  who  were 
affected  by  the  devastation — finding 
housing,  providing  stipends,  and  relocat- 
ing sets  from  NOLA  to  other,  dryer  spots 
in  Louisiana.  Says  producer  Yoram 
Pelman,  who  began  shooting  Road  House 
2  in  late  September,  "That  shows  us  the 
people  here  are  really  dedicated  to  this 
industry  and  rebuilding  their  state." 
Meanwhile,  all  500  workers  on  LIFT's 
payroll  continued  to  get  checks,  even 
with  closed  banks  and  downed  commu- 
nications systems. 

"The  commitment  of  the  local  film 
industry  to  the  future  of  New  Orleans 
and  Louisiana,  is  inspiring  and  bodes 
well  for  the  future  of  our  city  and  state," 
said  Ernest  Collins,  director  of  arts  and 
entertainment  for  the  New  Orleans' 
Mayor's  Office  of  Economic 
Development.  Indeed,  the  day  before  the 
hurricane  hit,  LIFT  had  closed  on  a  deal 
to  turn  10  acres  in  downtown  NOLA 
into  a  multi-million  dollar  film,  televi- 
sion, and  media  studio.  As  of  this  writ- 
ing, all  investors  were  still  committed  to 
the  project,  which  will  be  built  on  the 
banks  of  the  Mississippi  River. 

And  then  there  are  those  who,  instead 
of  trying  to  downplay  their  city's  plight, 
are  turning  the  camera  directly  on  the 
catastrophe's  lingering,  irreversible  dam- 
age. In  pure  documentarian  spirit,  Tim 
Ryan,  executive  director  of  New  Orleans 
Video  Access  Center  (NOVAC),  and  his 
wife  Heather,  a  local  actress,  began  film- 


ing as  soon  as  they  embarked  on  their 
eight-hour  evacuation  to  Baton  Rouge, 
carrying  only  a  smattering  of  clothing, 
their  two  dogs,  a  laptop,  and  a  video 
camera  from  their  Uptown  home. 

"It's  vital  that  we  capture  this  historic 
event  and  work  together  as  a  community 
with  other  filmmakers  to  share  the 
rebuilding,  strength,  courage,  challenges, 
and  opportunities  of  this  experience  with 
the  world,"  says  Ryan.  "Working  on  this 
project  provides  a  focus  and  sense  of 
empowerment  at  an  otherwise  shocking 
and  chaotic  moment  in  our  lives." 

According  to  Ryan,  since  the  word  got 
out  about  his  mission,  he  has  been  inun- 
dated with  emails,  phone  calls,  and 
footage  from  other  filmmakers,  activists, 
and  members  of  the  New  Orleans  com- 
munity at  large  who  want  to  help  with 
the  documentary.  "It's  exciting  to  see  so 
much  enthusiasm  when  you  realize  that 
most  of  us  involved  in  this  project  have 
been  completely  displaced,"  he  says. 
"We've  lost  jobs,  homes,  and  loved  ones, 
and  feel  a  bit  frozen  and  uncertain  about 
the  future." 

So  far,  the  Ryans  have  put  down  over 
20  hours  of  their  own  footage,  which 
includes  several  interviews  with  others 
displaced  from  the  city,  and  are  working 
on  a  website  to  document  the  progress 
and  drum  up  more  interest,  which  seems 
to  be  working.  North  Carolina's  Working 
Films  has  contacted  them  about  consult- 
ing on  the  project,  and  composers,  writ- 
ers, and  actors  from  New  York  to  LA  have 
approached  the  couple  about  getting 
involved. 

"Throughout  this  experience,  the 
media  has  exposed  many  of  the  negative 
aspects  of  New  Orleans,"  says  Ryan.  "We 
know  how  much  New  Orleans  has  to 
offer  and  the  greatness  of  its  culture.  We 
believe  that  there  will  be  many  stories  of 
courage  and  faith  in  the  face  of  extreme 
challenges." 

Cinequest  to  Distribute  Fest  Stand- 
outs Through  Netflix 

Cinequest  Executive  Director  and  Co- 
Founder  Halfdan  Hussey  wants  everyone 
to  see  what  he's  up  to.  Or  at  least  what 
the  attendees  at  his  San  Jose  Film  Festival 
do.  On  September  1 4th,  Cinequest 
launched  its  very  own  DVD  label  and 


10  The  Independent  I  November  2005 


WORLD    CONGRESS    OF 


PRODUCERS 


2005 

Where  Great  Minds  Make  History 


HOST  BROADCASTER 

Rai       ^-   Educational 


+ 


Calli 
Filmmakers!* 


•  irst  annual 
Midwest  Film  Competition. 

We  are  actively  seeking  short, 

locumentary,  animated  and  feature  films 

from  producers  and  directors  who  reside  in 

IL,  MN,  IA,  IN,  MO,  Ml,  Wl,  SD,  ND  or  OH. 

For  more  information,  visit  beloitfilmfest.com 
or  go  to  www.withoutabox.com 


The  Hendricks  Group  Presents 


ihtgriwioim 

FILM 

FESTIVAL 

January  19-22,  2006 
in  beautiful  Beloit,  Wisconsin 

Presented  in  association  with  Beloit  College 


simultaneously  inked  an  exclusive  deal 
with  Netflix  to  carry  them. 

The  DVDs,  which  are  also  available 
for  purchase  for  around  $14.99  through 
Cinequest  Online,  showcase  feature  films 
from  Cinequest's  annual  festival  (this  year 
marks  its  16th),  some  of  which  can  be 
previewed  via  free  download.  All  of  this, 
according  the  Hussey,  is  part  of  his  plan 
to  gain  a  broader  audience  for  indies  that 
don't  make  it  through  the  Hollywood 
distribution  system. 

"The  first  thing  some  people  might 
think  is  that  we  are  crazy  for  providing 
select  films  for  free  download  on 
Cinequest  Online,"  says  Hussey,  who  has 
offered  no-fee  downloads  in  the  past. 
"The  filmmakers  who  took  a  leap  of  faith 
with  this  venture  found  it  to  be  an  excel- 
lent marketing  tool  to  further  expose 
their  wares.  Furthermore,  as  we  predict- 
ed, distribution  deals  occurred." 

Six  festival  stand-outs  from  years  past, 
including  Awful  Normal  (2004),  which 
won  Best  Documentary  in  Film  Fest  14, 
and  Nickolas  Tucker's  Fandom  (2004), 
the  tale  of  an  overwrought  fan's  love  of 
Natalie  Portman,  kicked  off  the  DVD 
launch  in  September,  with  three  more  to 
follow  in  October.  And  for  extra  karma, 
Cinequest,  whose  site  gets  over  3  million 
hits  per  month,  plans  to  offer  filmmakers 
a  sweet  70  percent  of  the  DVD  sales 
(minus  minor  fees  incurred  in  the  pro- 
duction costs)  and  plans  to  cover  most 
marketing  costs.  For  Hussey,  though,  it's 
about  getting  the  word  out  on  the  maver- 
ick: "These  are  films  for  people  who  want 
to  break  away  from  the  typical.  If  you  are 
looking  for  hot,  raw  talent  with  a  delight- 
ful lack  of  celebrity,  then  check  us  out." 


12  The  Independent  I   November  2005 


indieWIRE 

relaunches 
website 


Despite  how  grandiose  it  sounds,  its 
potential  tot  grandiosity,  indieWlRE's 
claim  on  its  homepage  that  it  is  "The 
leading  source  on  independent  film  since 
1996,"  isn't  such  a  stretch.  With  87,000 
hits  a  day  for  news  from  Glasgow  to  Goa 
and  all  relevant  film  fests  in  between, 
what  began  in  an  AOL  chat  room  in  the 
spring  of  1995  has  indeed  become  a  go- 
to site  for  the  independent  film  industry. 
Not  wanting  to  gather  moss  on  this 
sprightly  reputation,  the  site  re-launched 
in  September,  ever-streamlining  the  news 
you  can  use  from  the  independent  film 
industry  at  large. 

Changes  include:  Buzz  &  Rumors,  for 
the  word  on  the  street;  indieWIRE 
Insider,  which  provides  coverage  of  the 
business,  profiles  of  interesting  industry 
muckety-mucks,  and  box  office  reports 
for  filmmakers  and  other  film  industry 
professionals;  and  a  new  and  improved 
calendar  that  reaches  even  farther  into 
the  future.  Still  in  the  works  is  an 
iPoparazzi  feature  that  will  allow  readers 
to  send  in  photos  and  blog  expansion. 
Says  Producer  and  Manager  Brian  Clark, 
"When  we  first  started  housing  blogs  for 
people  in  the  indie  community  as  an 
experiment    14    months   ago,   we   never 


imagined  that  they  would  turn  out  to  be 
nearly  half  or  the  traffic  that  we're  deliv- 
ering. Now,  we're  looking  for  ways  to 
expand  that  and  help  serve  as  a  filter  to 
guide  people  to  blogs  of  interest,  whether 
we're  housing  them  or  not.  By  Sundance, 
we're  hoping  to  open  the  gateways  of 
indieWIRE  a  little  further  and  allow  our 
community  to  contribute  to  our  cover- 
age— imagine  an  army  of  iPoparazzi 
turning  in  photos  from  the  events  and 
parties  in  Park  City."  And,  to  ice  the 
cake,  there  will  be  an  "Encyclopedia  of 
Indie,"  which  will  organize  all  of 
indieWlRE's  years  of  film  info  into  one 
big,  fat  research  tool.  "As  the  next  phase 
of  our  relaunch  comes  out,  this  will  make 
navigating  our  nine  years  of  archives 
more  intuitive  (hopefully)  for  both  film 
professionals  doing  research  and  film  fans 
who  are  discovering  films  in  release  that 
we  covered  during  their  festival  period," 
says  Clark.  Top  that.    Ik 


Corrections  for  the  October  issue:  In 
"IFC  Crashes  the  Scene,"  Tribeca 
Cinemas  was  incorrectly  referred  to  as 
the  Tribeca  Film  Center.  In  the  table  or 
contents,  Fernando  Ramirez,  Esq's  name 
was  misspelled.  We  regret  these  errors. 


nu 


BLACK  MARIA  FESTIVAL 

c/c  DEPARTMENT  OF  MEDIA  ARTS 

NEW  JERSEY  CITY  UNIVERSITY 

2039  KENNEDY  BLVD 

JERSEY  CITY,  NJ  07305 


BUCKMARIAFEST@AOL.C0M 
WWW.BLACKMARIAFILMFESTIVAL.ORG 

THE  BLACK  MARIA  IS  AN  OPEN 

COMPETITION  &  NATIONAL  TOUR 

FOR  BOLD.  NEW  WORKS  IN  ALL 

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rlflU^YW 


November  2005  I  The  Independent     13 


UTILIZE  IT 


Tools  You 

Can  Use 


By  David  AJm 


Swivel  and  Swing 

With  its  new  line  of  jibs  and  jib  acces- 
sories, Florida-based  EZ  FX  brings  some 
of  the  toughest  pro  shots  to  the  hands  of 
independent  filmmakers  who  don't  have 
a  big  studio  footing  the  bills.  The  firm's 
top  model,  the  EZ  FX  Jib,  sells  for 
$1,1 49,  and  it  provides  seven  feet  of  cam- 
era movement,  has  a  built-in  stabilizer, 
and  weighs  just  24  pounds.  The  slightly 
cheaper  Junior  Jib  ($979)  offers  the  same 
features  at  half  the  size,  and  both  jibs  can 
accommodate    cameras    ranging    from 


mini-DVs  to  professional-grade 
film  cameras.  Separately  sold 
extension  kits,  tripods,  bags,  and 
other  accessories  comprise  a  total 
suite  for  the  mobile  filmmaker. 
Read  more  at  www.ezfx.com. 

If  your  project  requires  a  little 
more    mobility,    consider    the 
Swenson     TerraScope     Mount. 
This    rolling   camera    platform 
from        Santa        Monica-based 
Innovision    Optics    allows    for 
optimally      smooth, 
surface-level  tracking 
shots,  and  its  size  makes  the 
TerraScope    ideal    for    both 
interior  and  exterior  shoots. 
Made  of  durable  yet   light- 
weight   aluminum    tubing, 
the    50-pound    TerraScope 
can    accommodate    cameras 
that  weigh  up  to  55  pounds; 
and  with  its  multidirectional 
wheels  the  mount  can  turn 
on  a  dime  without  so  much 
as  a  bump.  Anyone  up  for 
making       a       shot-by-shot 
recreation    of    The   Shining? 
Here's    your    chance.    Visit 
www.innovision-optics.com 
for  more. 


Interactivity  for  the  Indies 

Interactive  DVDs  may  be  the  wave  of 
the  future,  but  not  if  only  the  pros  can 
actually  produce  them.  Enter  DVDit  6,  a 
simple  authoring  program  from  Sonic 
Solutions  that  allows  independent  film- 
makers to  add  menu  designs,  navigation 
systems,  and  interactive  features  to  their 
own  projects  on  DVD.  DVDit  Pro  6  also 
includes  eDVD,  which  allows  you  to  link 
your  DVDs  to  websites,  hi-definition 
video,  hi-res  stills,  MP3s,  flash  files,  text 
documents,  and  virtually  any 
other  type  of  file.  DVDit  6  runs 
$299.99;  DVDit  Pro  6  $399.99.  Visit 


fi 


www.sonic.com  ror  more  information 


info 


14  The  Independent  I  November  2005 


Take  it  from  Figgis 

Okay,  this  item  isn't  exactly  new,  but 
we  love  its  history  (and  its  name):  the  Fig 
Rig.  Conceived  by  filmmaker  Mike 
Figgis  in  the  late  1990s,  the  Fig  Rig  is  a 
modular  support  system  for  handheld 
digital  cameras  that  can  double  as  a  frame 
on  which  to  mount  myriad  accessories: 
monitors,  mics,  mixers,  etc.  Figgis  used 
the  contraption  to  shoot  several  films 
over  the  past  five  years,  including  Hotel 
(2001),  part  of  the  documentary  mini- 
series  The  Blues  (2003),  and  Cold  Creek 
Manor  (2003).  Manufactured  by 
Manfrotto,  the  Fig  Rig  sells  for  $375  and 
is  routinely  updated  to  reflect  new  devel- 
opments in  steadying  technology.  Read 
more  at  www.bogenimaging.com. 

Digital  Filter 

With  Kodak's  Look  Manager  System, 
color  correction  can  be  a  proactive 
move — instead  of  a  desperate,  reactive 
attempt  to  save  a  shot  in  post.  This  soft- 
ware, which  is  both  Mac-  and  PC-com- 
patible, allows  you  to  change  the  col- 
oration of  an  entire  scene  in  a  DV  movie 
by  correcting  a  single  still  through  a 
Photoshop-like  process.  After  correcting 
the  still,  you  tell  the  software  to  apply  the 
same  coloration  to  all  the  footage  in  the 
same  folder.  You  probably  don't  want  to 
throw  your  color  filters  away,  but  at  least 
you  can  leave  them  at  home.  Find  out 
more  about  KLMS  at  www.kodak.com. 


Too  Cool  for  School 

Most  agree  that  film  school  is  of  dubi- 
ous value,  often  drawing  students  for 
industry  connections  over  actual  train- 
ing. But  what  if  you  really  just  want  to 
learn  how  to  make  a  movie?  You  might 
consider  One  on  One  Film  Training,  an 
individualized,  tutorial-based  program 
launched  this  summer  by  Jeffrey 
Seckendorf,  a  Hollywood-based  veteran 
filmmaker  and  film  teacher.  The  80-hour 
program  can  be  tailored  to  each  student's 
schedule  and  needs.  At  $8,000,  it's  not 
cheap — but  it's  a  whole  lot  cheaper  than 
USC.  Seckendorf  also  offers  a  "Two  on 
One"  package  for  people  who  wish  to 
attend  with  a  partner,  where  the  second 
person  is  charged  half  the  regular  fee. 
Visit  www.oneononefilmtraining.com 
for  more  information. 

Don't  Get  Ripped 

Remember  when  DVDs  seemed 
impossible  to  pirate?  Now,  with  DVD- 
writers,  a  standard  feature  on  most  home 
computers,  those  once-uncrackable  discs 
of  code  can  be  duplicated  ad  infinitum, 
like  so  many  blank  tapes.  Studios  lose 
nearly  a  billion  dollars  per  year  through  the  so-called 
"digital  hole" — and  indie  productions  made  on  a  budg- 
et are  especially  vulnerable.  That's  where  Macrovision's 
RipGuard  DVD  comes  in.  RipGaurd's  manufacturers 
boast  its  ability  to  block  97%  of  the  methods  used  by 
DVD  rippers,  potentially  saving  filmmakers  and  stu- 
dios millions.  For  more  on  how  to  protect  your 
projects,  visit  www.macrovision.com.  ik 


TerraScope  with  car 


The  Fig  Rig  [photo  courtesy  Bogen  Imaging] 


DVDit  6,  a  simple  authoring  program  [Sonic  Solutions] 


November  2005  I  The  Independent     15 


on  DVD 

Reviews  of  films  now  available  on  DVD 


Bv  Shana  Liebman 


^■^k  ^^       -  A  FILM  BY  PAUL  COX      ^^^^ 

Vmcera 

THE  LIFE  AND  DEATH  OF  VINCENT  VAN  GOGH 


The  Global  Lens  Collection  on  D  VD 

Every  year,  the  Global  Film  Initiative 
presents  the  Global  Lens  series:  10  films 
from  developing  countries  that  travel  to 
cultural  institutions  around  the  United 
States.  After  the  tour,  the  best-of  are 
released  on  DVD  with  bonus  features 
about  the  film's  country  of  origin  and  its 
emerging  cinema.  This  year,  the  collec- 
tion adds  two  films  to  the  series: 
Margarette's  Feast  (October  25),  a 
Brazilian  Chaplin-esque  saga  about  an 
everyman,  Pedro,  who  unexpectedly 
receives  a  bottomless  bag  of  money.  The 
silent  film's  excellent  score  won  Best 
Music  Award  at  Cannes.  Shadow  Kill 
(October  25),  from  India,  is  the  diaboli- 
cal tale  of  a  hangman  whose  occupation- 
al guilt  leads  to  that  old  familiar  trajecto- 
ry: alcoholism  to  radical  religiousness  and 
finally  madness.  Find  these  films  at 
www.firstrunfeatures.com;  more  infor- 
mation at  www.globalfilm.org. 

The  God  Who  Wasn't  There 

Four  years  after  his  off-Broadway  rock 
musical  "Batboy,"  creator  Brian 
Flemming  is  taking  on  Jesus.  The 
Christian  Fundamentalist  turned  "athe- 


ist-Christian" is  on  a  mission  to  prove 
that  the  son  of  God  did  not,  historically, 
exist.  In  this  irreverent  feature-length  doc 
(released  in  15  cities  last  year),  Flemming 
asks  religious  experts  to  interpret  and  dis- 
cuss sections  of  the  scripture  that 
Flemming  thinks  prove  that  "most  likely 
Jesus  never  walked  the  Earth."  This  idea 
we  have  faith  in,  he  says,  was  probably 
created  by  "men  with  a  political  agenda." 
A  seemingly  reasonable  argument,  until 
you  realize  that  Flemming  himself  still 
"likes  Jesus"  and  depends  on  him  for  sal- 
vation. In  other  words,  keep  your  cross — 
just  get  the  facts  straight.  The  film's  sav- 
ing grace  is  its  soundtrack,  which  rocks 
with  remixes  of  songs  by  David  Byrne 
and  Thievery  Corporation.  The  DVD  is 
now  available  at  www.microcinema.com. 

Vincent:    The   Life   and  Death    of 
Vincent  van  Gogh 

Vincent  van  Gogh  was  a  prolific  man: 
He  created  1 80  paintings  and  wrote  more 
than  750  letters  to  his  brother,  Theo, 
detailing  the  various  tragedies  and  infre- 
quent joys  of  his  life.  (Of  those  180 
paintings,  van  Gogh  sold  only  one  in  his 
lifetime.)   In  this    1987  Australian  film, 


f  Y0U  WANT  TO  KNOW  HOW  EVftNGEUCAUSM  AFFECTED 
THl  COURSE  OF  POUTICS  IN  THE  20TH  CENTURY. 

THIS  IS  AN  OUTSTANDING  PUCE  TO  START. 

REQUIRED  VIEWING!" 


(^i  WITH 


GOD 

ON  OUR 


GEORGE  W.  BUSH  AND  THE 
nccnc  TUFRFIIGIOUSRIGHI 


actor  John  Hurt  reads  van  Gogh's  letters 
while  Paul  Cox,  the  writer/director, 
shows  us  some  of  the  landscapes,  scenes, 
and  images  that  van  Gogh  may  have  seen 
or  had  in  mind  as  he  painted.  (A  group  of 
people  in  a  room  slowly  coming  together 
to  form  a  van  Gogh-like  still.)  Cox's  cre- 
ative interpretation  of  van  Gogh's  art  and 
mind,  combined  with  the  artist's  actual 
written  thoughts,  is  a  moving  juxtaposi- 
tion. This  is  not  art  history  101,  and 
refreshingly,  the  impression  we  get  of  the 
painter  is  not  the  usual  madman  (a  la 
Robert  Altman's  1990  film  Vincent  & 
Theo),  but  rather  of  a  quietly  thoughtful 
and  romantic  artist,  www.docurama.com. 

In  the  Shadow  of  the  Stars 

Do  you  know  what  it  feels  like  to  be 
upstaged  by  a  diva?  How  about  a  large, 
celebrated,  belting  opera  singer?  In  this 
documentary,  which  won  an  Oscar  in 
1992,  the  11  chorus  singers  of  the  San 
Francisco  Opera  explain  the  frustration 
of  a  career  in  the  shadows  and  the  humil- 
iation that  haunts  them  on  and  off  the 
stage.  One  of  the  singers  grew  up  in  a 
Bronx  tenement  and  did  time  in  a  men- 
tal institution  before  becoming  a  tenor. 


16  The  Independent  I  November  2005 


Another  is  the  son  of  a  truck  driver,  and 
one  woman  swatched  the  Frankfurt 
Opera  House  burn  down  days  before  her 
debut.  All  discuss  the  psychological  dam- 
age they  have  endured  from  always  being 
outshone.  The  performance  segments  are 
excellently  fdmed  and  fun  to  watch 
(especially  because  they're  so  skillfully 
intercut  with  the  singers'  stories).  But  if 
you  don't  have  even  a  little  love  for  opera, 
the  film  starts  to  feel  like  a  bitch  session. 
These  are  aspiring  divas  after  all,  and 
most  of  them  prove  to  have  the  self- 
absorption  needed  to  succeed  in  the  role. 
www.docurama.com. 

With  God  on  Our  Side:  George  W. 
Bush  and  the  Rise  of  the  Religious  Right 
in  America 

This  compelling  doc,  which  aired  on 
British  TV  on  the  eve  of  W's  first  election 
and  then  again  in  the  United  States  right 
before  W's  second,  argues  that  the  evan- 
gelical vote  led  to  both  Reagan's  victory 
margin  in  1980  and  Bush  the  elder's  in 
1988,  and  reached  its  political  apotheosis 
in  the  born-again  prodigal  son  George 
W.  Bush — or  as  his  comrades  call  him, 
"the  real  deal."  Filmmakers  Calvin  Skaggs 
and  David  Van  Taylor  attempt  to  shed 
some  light  on  this  progression  and  into 
the  darkness  of  W's  mind  by  probing  and 
interpreting  the  one  group  who  seems  to 


have  the  answers:  the  religious  right — 
including  Jerry  Falwell,  Billy  Graham,  a 
couple  Bush  buddies,  as  well  as  Bush 
himself.  It's  a  thoughtful  but  not  terribly 
cynical  take  on  the  Right's  rise,  and  100 
minutes  seems  like  more  than  enough  to 
spend  with  so  many  religious  nuts. 
www.firstrunfeatures.com. 

Monumental:  David  Brower's  Fight 
for  Wild  America 

In  light  of  recent  world  catastrophes, 
"Save  the  Wilderness"  seems  like  an  out- 
dated crusade,  which  is  perhaps  why 
filmmaker  Kelly  Duane  imposed  a  hip- 
ster indie-rock  soundtrack  on  this  docu- 
mentary about  longtime  Sierra  Club 
head  David  Brower.  Brower,  a  former 
rock  climber  and  friend  of  Ansel  Adams, 
saved  the  Grand  Canyon,  created 
Redwood  National  Park,  North  Cascades 
National  Park  and  Point  Reyes  National 
Seashore,  and  is  considered  the  greatest 
environmentalist  of  the  20th  Century. 
Duane's  well-made  film  documents 
Brower's  battles  and  victories  from  the 
1930s  until  his  death  in  2000  using  old 
footage  from  the  Sierra  Club's  archives. 
The  material  may  seem  dated  but  it's 
heartening  to  see  a  real  activist  at  work — 
someone  who  actually  effects  political 
change  and  doesn't  just  whine  about  it. 
www.firstrunfeatures.com.  ~k 


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November  2005  I  The  Independent     17 


FIRST  PERSON 


By  ALLEN  SALKIN 


F 


reak  boy  and  Festivus 
poles.  Gutted  tuna 
auctioned  in  Tokyo.  And 
Thanos-the-PR-man  singing 
"Feelings"  at  karaoke.  Whoa- 
oh-oh. 


I'm  a  blogger,  but  the  existence  ofblogs  isn't 
news.  What  Freak  Boy  (a  home-movie  role  I 
have  twice  played)  wants  you  to  know  is 
how  the  use  of  iMovie,  Apple  Computer's 
low-end,  low-cost  movie  editing  software  for 
the  Macintosh,  has  elevated  my  corner  of  the 
infinitely  cornered  internet  into  a  class  way 
beyond  the  chattery  clatter  of  bad  blogs. 


(The  bad  kind  is  where  the  blogger 
makes  hourly  text  entries  like:  "Rode  the 


bus  this  a.m.  then  got  a 

Jamba  Juice,   green   tea 

flavor.  Tasted  like  green 

tea     meets     shamrock 

shake.  I  feel  lachrymose 

today.  Haven't  felt  such 

since  last  tues  when  BOYFRIEND  left 

the  infamous  voicemail...") 

No,  on  allensalkin.com  and  festivus- 
book.com,  visitors  aren't  treated  merely 
to  self-indulgent  drivel.  Here  they  can 
meet  in  full  motion  some  of  the  charac- 
ters and  subjects  about  which  I  write, 
and,  thanks  to  iMovie's  slightly-more- 
than-bare-bones  quality,  these  moving 
characters  appear  in  a  way  that  feels,  well, 
bloglike. 

I  don't  just  blog  about  Festivus — or 
write  about  the  writing  of  my  book  on 
Festivus  [Festivus:  The  Holiday  for  the  Rest 
of  Us,  Warner  Books  2005) — I  present 
you  with  a  minute-thirty-five  web-friend- 
ly QuickTime  of  some  folks  I  met  in 


therefore  iAm 


Austin  who  are  planning  to  set  up  a  Festivus 
pole  lot  in  their  front  yard.  You  get  to  see 
and  hear  these  flesh-and-blood  Austinians 
who  want  to  observe  the  Seinfeld-popular- 
ized holiday  by  selling  hearty  cuts  of 
unadorned  aluminum  fence  post  for  people 
to  place  in  their  living  rooms  instead  of,  or 
in  addition  to,  Christmas  trees,  menorahs, 
kinaras  and  harvest  lanterns.  The  movie 
downloads  quickly  and  arrives  complete 
with  titles  and  credits  and  funky  bubble- 
wipe  transitions. 

Likewise,  in  another  blog  entry,  when 
I  go  on  about  the  six  weeks  I  spent  in 
Greece  writing  a  different  book,  I  can  cut 
through  the  claptrap  with  my  short  film 
The  Return  of  Freak  Boy.  Shot  entirely  in 


g30-second  chunks  with 
the  movie  function  of 
my  four-year-old 

Canon  digital  still 
camera,  this  shot  was 
made  at  the  small 
Greek  hotel  where  I 
stayed  during  that  six  weeks.  I  edited  it 
with  iMovie  on  my  six-year-old 
PowerBook,  and  the  whole  production 
process,  from  scriptwriting  to  uploading 
onto  my  site,  took  three  hours.  Now  vis- 
itors can  watch  me  drink  a 
Mediterranean  espresso  and  freak  out  dis- 
turbingly at  the  Aegean  Sea,  to  a  clever 
musical  soundtrack. 

There's  something  about  iMovie  that  is 
particularly  in  the  spirit  of  blogs.  It 
imparts  an  inbred  low-budget  feel  that 
fits  into  a  blog  better 
than  a  sharply  pro- 
duced Hollywood 
trailer,  but  it  is  also 
just  slick  enough  to 
render  short  movies 
fun  and  watchable.  Simple  technology 
has  made  producing  a  professional  look- 
ing blog  fairly  easy.  Blogger.com  and 
Typepad.com  allow  anyone  to  do  it 
cheap.  Although  blogs  from  these  popu- 
lar sites  aren't  perfect;  they  still  have  the 
around-the-edge  roughness  of  amateur 
work — the  standardized  fonts,  the  lack  of 
adequate  page  breaks,  the  slightly  confus- 
ing graphics  that  gives  the  credence  of  a 
good  garage  band,  and  puts  the  focus  not 
on  the  hocus  pocus  bells  and  whistles, 
but  on  the  quality  of  the  content. 

Of  course,  most  blog  content  sucks. 
Most  people  are  not  professional  writers, 
and  for  good  reason — they  can't  write. 
Their  writing  is  boring  or  pointless,  and 


is 

9) 


00 

e 
o 


18  The  Independent  I  November  2005 


readers  pick  up  on  that  as  quickly  as  a 
dog  can  sense  a  plastic  pork  chop  is  made 
of  plastic  and  not  pork. 

Besides,  featuring  photos  alone  to  back 
up  a  blog's  content  is  so  dial-up.  Its  fine 
to  show  the  face  of  the  person  who 
dumped  you,  but  its  way  better  to  use 
iMovie's  Ken  Burns  effect  to  slowly  zoom 
in  on  the  photo  of  the  person  who 
dumped  you,  closer  and  closer,  until  the 
only  thing  in  the  frame  is  the  person's 
slighdy  moist  right-nostril-rooted  nose  hair. 
That's  not  just  a  photo,  that's  a  statement! 

Better  yet,  volume  levels  can  be  adjust- 
ed to  make  up  for  lame  on-camera  micro- 
phones, music  can  be  added  seamlessly 
from  iTunes,  and  photos  slotted  in  from 
iPhoto — all  part  of  Apple's  iLife  suite 
that  retails  for  $80  (if  you  already  have 
iTunes).  It's  important  to  note  that  in 
order  to  put  movies  onto  your  blog  you 
will  not  be  able  to  use  sites  like 
Blogger.com  and  Typepad.com.  They 
don't  yet  allow  movies,  just  photos, 
which  makes  your  blog  with  movies  (and 
mine)  that  much  more  unique. 

Let  me  share  a  few  tips  on  making  an 
effective  iMovie  to  complement  a  blog. 

*  Make  it  absolutely  as  short  as  possi- 
ble. The  movie  will  load  faster  and  more 
people  will  watch  to  the  end  if  it  is  one 
minute  or  less.  This  involves  cutting 
everything  ruthlessly.  Don't  let  scenes  last 


iTrr*"77  OT 


CERTIFICATE  PROGRAMS  IN: 


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Intensive  nine-month  programs  for  the  skills  and  tools  you  need  to  turn  your  ideas  into  reality. 
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the 


s44thi* 


deadline 


Seeo 


_, 


Standard:  Nov  1,2005 
Late:  Dec  1,2005 


submission  details  and  entry  forms 


November  2005  I  The  Independent   19 


Student  Artwork . .  .Tat  Ito 


life's  a  movie, 
make  your  own! 

80%  of  our  graduates  are  working 
in  the  art  and  design  industry 


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&  TELEVISION 

Acting,  Directing, 
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Music  Videos,  Producing, 
Production  Design, 
Screenwriting 
&  Special  Effects 


1 .800.544.  ARTS 
www.academyart.edu 

ACADEMY  of  ART 
UNIVERSITY 

FOUNDED  IN  SAN  FRANCISCO  1929 
BY  ARTISTS  FOR  ARTISTS 


REGISTER  NOW  FOR  SPRING- 
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lis  the  season  to  air  your  grievances. 


THE  HOLIDAY 

FOR  THE  REST  OF  US 


S  A  L  K  I  _N 


porewoni  by 
JERRY  STILLER 


(L-R)  The  cover  of  Salkin's  new  book;  a  medussa  plant  on  Naxos  shot  for  the  author's  iMovie 


a  tenth  of  a  second  longer  than  absolute- 
ly necessary.  It  all  adds  up.  Every  extra 
second  will  lead  you  to  lose  a  viewer. 

*  Light  music  works  best  on  computer 
speakers.  Heavy  metal  gets  muddy  on  lit- 
tle speakers.  Something  sparse  like  classi- 
cal won't  lead  people  who  surf  at  work  to 
hit  mute  immediately. 

*  Have  a  point,  a  story,  a  reason.  Don't 
just  make  a  film  of  your  baby  crawling, 
score  it  with  sweet  Sesame  Street  music, 
and  call  it  "Baby's  First  Crawl."  That's 
nice,  but  it's  better  if,  for  instance,  you 
call  it  "Baby  Bulldozer"  and  highlight  the 
funny  moments  like  when  your  baby 
rams  into  a  stuffed  animal  or  dives  into  a 
plate  of  SpaghettiOs.  You  could  add 
demolition  derby  sound  effects  or  a 
motor  sound  or  even  subtitles  that  say 
"BLAMMO!"  at  each  moment  of 
impact.  Viewers  will  genuinely  enjoy 
themselves,  and  they  will  come  away  with 
the  same  point  that  a  boring  movie  called 
"Baby's  First  Crawl"  might  make:  Your 
baby  is  crawling  now  and  is  smart  and 
cute  and  wonderful.  Goo-goo. 

*  Use  iMovie  special  effects  sparingly. 
One  split-screen  or  shooting  flare  is 
clever.  More  is  cloying  and  patience-test- 
ing. Don't  patience  test.  You  will  fail  that 
test  every  time  on  the  Internet. 

*  But  do  play  around  with  iMovie's 
special  effects  and  understand  how  effec- 
tive they  can  be.  Switching  to  black  and 


white  or  making  the  film  look  scratchy 
and  old  can  be  great  storytelling  devices. 
As  with  any  film,  use  all  tools  of  the 
medium  to  communicate  your  ideas. 

*  If  you  have  end  credits,  make  sure 
they  move  fast.  If  anyone  actually  cares 
to  read  them,  they  can  easily  pause  the 
QuickTime.  This  isn't  a  theater.  The 
audience  has  a  pause  button. 

*  End  with  a  still  frame  instead  of  a 
fade  to  black.  That  way  when  the  movie 
ends,  the  QuickTime  viewer  will  freeze 
on  the  image  of  your  choice,  hopefully 
something  emblematic  of  the  whole 
film. 

*  Use  the  transitions  tools,  but  don't 
get  too  corny  unless  you  want  corny. 
Some  of  the  transitions  on  iMovie  are 
very  1970s  funky.  Careful. 

On  my  site,  I  have  a  special 
"Movies"  page  separate  from  my  blog 
page.  I  can  add  links  within  the  blog  that 
will  begin  loading  the  movie  immediate- 
ly, or  visitors  can  go  to  the  movie  page 
and  see  the  full  menu  of  movies. 

*  Of  course,  movies  take  up  more 
space  than  photos  and  words,  so  it's  a 
good  idea  to  keep  track  of  how  much 
space  the  host  provides.  I  use 
Opensourcehost.com.  My  web  designer 
used  an  open  source  program  Drupal  to 
build  my  site  and  set  up  a  page  that 
allows  me  to  easily  transfer  movies  to  the 
site  using  ftp  (file  transfer  protocol). 


20  The  Independent  I  November  2005 


*  Don't  put  anything  porn-like  in  your 
movie  or  the  title  of  your  movie.  You  will 
risk  upsetting  your  hosting  site  and  also 
being  found  by  the  countless  porn-surfers 
who  could  overwhelm  the  bandwidth  of 
your  site  and  lead  to  a  crash,  or  to  you 
exceeding  what  your  host  allows.  (I  found 
this  out  with  the  large  number  of  hits  I 
received  with  the  seemingly  innocuous 
titled  photo  entry:  "Velodrome  Girl."  It  is  a 
picture  of  a  fully  dressed  spectator  with 
interesting  face  paint  at  the  Olympic  bicy- 
cling venue  in  Athens.) 

*  When  you  think  everything  is  done  and 
uploaded  and  working  perfectly,  call  some- 
one with  a  different  operating  system  and 
have  them  test  the  movie  by  accessing  it  on 
the  web  like  a  normal  person.  Make  sure  it 
works. 


Jnr 


* 


Freak  Boy  freaks  out:  self-portrait  shot  with 
digital  still  camera's  movie  function 


Have  fun  and  don't  make  a  chore  of  it. 
You  want  your  time  commitment  to  be 
blog-like:  small.  Otherwise  it  will  become  a 
pain.  A  less-is-more  example  is  my  little 
iMovie  of  Thanos.  I  did  almost  no  editing 
on  this  30-second  film  of  a  guy  I  met  in 
Tokyo  last  year  pausing  in  his  moment  of 
karaoke-ing  "Feelings"  and  switching  to 
French  mid-song  to  greet  the  crowd: 
"Madams  and  Messieurs,  bon  soir."  Pure 
cheese.  I  tinkered  with  the  sound  levels  a  lit- 
tle and  put  it  up  on  my  site. 

Some  video,  like  the  rare  great  blog 
entry,  needs  no  editing.  Most  does.  It 


Independent  Narrative 

Filmmakers  and  Their  Films 

On  the  beautiful  Kohala  Coast  of  Hawaii 


O 


Film 
Festival 


•  Independent  Narrative  Films 

•  Filmmaker  Symposiums 

•  Parties 

•  Beautiful  Beaches 

•  World  Class  Resorts 

•  C treat  Weather 

•  Spirit  of  Aloha 


Call  for  entries  -  deadline:  March  i,  2006 
www.BigIslandFilmFestival.com 


iilliiil 


David  Ward/WRITER/DIRECTOR 
Sleepless  in  Seattle,  The  Sting 


w 

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John  Badham/DIRECTOR 


Dezso  Magyar/DIRECTOR/M 


IT 


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Learn 


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Film  has  the  power  to  make  us  laugh  or  cry,  to  challenge 
dearly  held  beliefs  or  to  put  forth  new  concepts. 

If  you  dream  of  telling  your  story,  expressing  your  passions 
or  bringing  life  to  your  ideas  through  film,  the  Graduate 
Conservatory  of  Motion  Pictures  at  Chapman  University  has 
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curriculum  and  resources  to  help  you  reach  your  goals. 

Learn  more.  Call  us.  Visit  us  online. 


Larry  Paull/PRODUCTION  DESIGNER 
Bark  to  the  Future,  Blade  Runner 


Paul  Seydor/EDITOR 
White  Men  Can't  Jump, 
Barbershop  II 


Bill  Dill/CINEMATOGRAPHER 

Dancing  in  September,  The  Five  Heartbeats 


STUDIOS 


CHAPMAN  UNIVERSITY 

THE  DODGE  COLLEGE  OF  FILM  &  MEDIA  ARTS 
One  University  Drive,  Orange,  CA  92866 

800-775-0065  •  714-997-6765 
FTV.CHAPMAN.EDU 
ROBERT  BASSETT,  DEAN 


November  2005  I  The  Independent  21 


the  Documentary  Doctor 


By  Fernanda  Rossi 

Dear  Doc  Doctor: 

In  the  post-production  phase,  tech- 
nology becomes  so  complicated — there 
are  so  many  options.  Any  suggestion 
on  what's  the  best  format  with  which 
to  master  my  film  while  still  being 
affordable? 

Remember  when  there  was  only  one 
way  of  doing  things?  When  you  would 
happily  leave  the  working  print  at  the 
laboratory's  door  and  come  back  a  few 
days  later  to  pick  up  the  finished  film 
master?  OK,  OK,  maybe  it  wasn't  exactly 
like  that,  but  having  to  choose  between 
16mm,  35mm,  and  Panavision  pales  in 
comparison  to  the  amount  of  formats 
available  today.  I'm  reluctant  to  name 
them  all  for  fear  of  having  an  outdated 
list  by  the  time  you  read  the  second  para- 
graph. 

However,  the  principles  of  how  to 
manage  the  post-production  phase 
haven't  changed.  Planning  ahead  can  save 
you  from  mayhem.  In-house  Post- 
Production  Supervisor  and  Coordinator 
Tracey  Soast  from  PostWorks  in  New 
York  suggests:  "Before  you  start  shooting 
with  the  latest  camera  available  in  the 
market,  make  sure  the  deck  for  such  tape 
has  been  invented  already  and  that  some 
post-house  owns  such  a  deck." 

Once  you  check  with  a  post-produc- 


tion supervisor  as  to  whether  your  shoot- 
ing format  has  some  life  in  the  afterworld 
of  post,  a  few  other  questions  need  to  be 
answered:  What's  the  master  format?  And 
what  will  be  the  workflow?  Meaning, 
how  are  all  the  stages  of  post  going  to  be 
organized — from  conforming  the  master, 
to  color  correction  and  mixing?  Soast 
continues:  "You  need  a  versatile  format 
that  has  passed  the  test  of  time,  especial- 
ly if  working  with  a  tight  budget.  You 
have  to  trust  that  such  a  format  will  be 
around,  if  not  for  a  decade,  at  least  the 
next  five  years.  Then  you  want  that  for- 
mat to  be  able  to  play  at  festivals  and  to 
be  easily  transferable  to  other  formats 
used  in  other  markets  and  venues, 
including  the  foreign  ones.  As  per  today, 


that  format  is  HD  and  if  money  is  scarce, 
at  least  go  for  DigiBeta." 

Of  course  there  are  exceptions,  varia- 
tions, and  very  special  cases  that  defy  all 
of  the  above,  but  money  shouldn't  be  a 
deterrent.  We  are  talking  about  the  mas- 
ter of  your  film  here.  It  never  ceases  to 
amaze  me  how  many  filmmakers  won't 
think  twice  of  paying  double  the  stan- 
dard fee  for  a  recent  award-winning  DP 
or  editor,  but  will  cringe  at  the  cost  of  a 
tape!  Nickel-and-dime-ing  in  post  jeop- 
ardizes all  the  work  you  have  done  up  to 
that  point. 

Also,  bear  in  mind  that  post-produc- 
tion is  the  last  stop  and  that  there  are  no 
more  opportunities  to  "fix  it  later."  So  if 
you  plan  for  post-production  early  on 
and  budget  for  it  accordingly,  hopefully 
the  only  surprise  will  be  that  there  were 
no  surprises. 

Dear  Doc  Doctor: 

I'm  dealing  with  lots  of  technical 
problems,  and  I  don't  consider  myself  a 
techie  person.  Should  I  hire  a  post- 
production  supervisor  to  help  with  the 
non-artistic  stuff? 

An  editor  friend  of  mine  recently 
screamed  to  me  over  her  cell:  "I'm  in 
post-production  hell!"  Another  friend,  a 
DP,  said  to  me  the  other  day,  "Oh  gosh, 
I'm  in  shooting  hell!"  Mind  you,  both  are 
very  "techie"  people.  Such  remarks  lead 
me  to  believe  that  Dante's  Inferno  was 


22  The  Independent  I  November  2005 


actually  a  prediction  of  the  fate  technolo- 
gy will  bring  upon  filmmaking:  one  circle 
of  fiery  hell  after  the  other!  But  the 
flames  can  be  doused  with  a  post-produc- 
tion guardian  angel  and  by  repeating  the 
mantra:  "I  can  be  techie  if  I  just  apply 
myself." 

You  might  think  that  what  makes  you 
creative  is  not  knowing  how  to  operate 
your  VCR.  However,  I  doubt 
Michelangelo  ever  said,  "Chisel?  What's 
that?"  Knowing  the  tools  of  your  trade 
can  only  help  your  creative  process. 
Furthermore,  taking  pride  in  not  caring 
about  technical  "non-artistic"  issues 
might  put  you  at  a  disadvantage  with  all 
those  very  technical  people  who  are  going 
to  help  you  finish  your  film,  including 
your  post-production  supervisor.  That 
doesn't  mean  that  you  should  present 
yourself  as  technically  knowledgeable  if 
you  are  completely  ignorant  on  the  sub- 
ject. But  trying  to  at  least  show  interest  in 
the  basics  can  help  more  than  you  may 
realize. 

Once  you  are  able  to  communicate 
(even  if  it's  just  the  basics)  with  the  post- 
world,  you  can  make  a  decision  as  to 
whether  you  can  brave  handling  things 
on  your  own  with  the  in-house  post-pro- 
duction supervisor,  you  want  to  recruit 
your  editor  for  a  few  extra  weeks  to  help 
you  out,  or  you  would  prefer  to  hire  a  pro 
in  the  field.  As  usual,  all  choices  have 
their  advantages  and  costs. 

In-house  supervisors  are  happy  to 
explain  it  all  to  you  and  help  you  to  make 
decisions,  but  they  are  also  handling  sev- 
eral other  projects  at  the  same  time.  Your 
editor,  if  technically  inclined,  can  be  a 
great  resource,  probably  more  familiar 
than  you  with  the  process.  Your  own 
supervisor,  if  experienced  enough,  is 
ideal.  Hopefully,  you've  budgeted  for 
one — if  not,  go  for  that  extra  round  of 
fundraising,  especially  if  you  have  a  com- 
plex project.  There  are  so  many  people 
and  machines  involved  in  post  that  the 
margin  for  error  is  unavoidable.  Having 
your  own  post-production  supervisor  can 
minimize  that  margin-making  hell.  •& 

Fernanda  Rossi  is  a  filmmaker  and  story 
consultant,  and  the  author  of  Trailer 
Mechanics:  A  Guide  to  Making  Your 
Documentary  Fundraising  Trailer. 


13TH  JAMES  RIVER  FILM  FESTIVAL 


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THE  NEW  IS  WHAT 

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The  New  School,  from  its  founding,  has  been  open  to  fresh  thinking, 
change,  and  innovation.  And  that's  a  driving  force  behind  its 
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An  affirmative  action/equal  opportunity  institution 


November  2005  I  The  Independent  23 


ON  LOCATION 


Frames 
of 

New  York 


By  Katherine  Dykstra 

New  York  City  equals  screen  value. 
Think  about  it:  The  whole  world 
knows  New  York.  They  know  its 
diverse  personalities  (Times  Square,  The 
Village,  Central  Park),  the  way  that  it 
sounds  (barking  traders,  bleating  taxis,  bel- 
lowing street  vendors),  and  that  the  energy 
there  is  tangible.  They  know  these  things 
even  if  they've  never  set  foot  in  the  city 
because  they've  encountered  them  dozens 
of  times  in  movies  and  on  television. 

"New  York  is  so  well-known  interna- 
tionally that  everyone  is  always  trying  to 
capture  it.  It's  a  very  distinctive  locale," 
says  producer  Michael  Mailer,  whose 
films  include  Harvard  Man  (2001),  the 
Kevin  Bacon-directed  Loverboy  (2005), 
and  most  recently  Kettle  of  Fish,  which 
was  shot  in  New  York  and  which  Mailer 
hopes  to  debut  at  Sundance  2006. 
"There's  a  certain  universal  aura  to  the 
city.  It  behooves  any  filmmaker  to  cap- 
ture that,  and  if  you  can,  there's  great 
production  value." 

Makes  sense.  But  shooting  in  New 
York  is  bound  to  be  a  major  headache  - 
what  with  securing  permits,  finding 
parking,  and  getting  police  assistance  and 
all  in  a  city  of  nearly  nine  million.  Factor 
in  the  sheer  number  of  filmmakers  who 
are  interested  in  doing  so  and  it  sounds 
like  quite  the  trick,  and  a  costly  one  at 
that.  Except  it's  not.  In  actuality,  "The 


Shooting  in  the  Big  Apple 


city  is  very  film-friendly,"  says  Mailer. 
"The  Mayor's  Office  goes  out  of  its  way 
to  accommodate  you." 

Mailer's  right.  Processing  an  estimated 
150  permits  a  day,  the  Mayor's  Office  of 
Film,  Theatre,  and  Broadcasting,  turns 
around  requests  "in  20  or  30  minutes," 
according  to  Commissioner  Katherine 
Oliver.  The  permits  are  free  and  they 
come  complete  with  police  assistance 
(two  officers  for  every  eight-hour  shift), 
parking,  access  to  public  locations,  and  a 
concierge  service  created  to  make  smooth 
all  aspects  of  production  including  scout- 
ing, planning  a  budget,  and  preparing  for 
global  premieres  and  launches. 

"We're  not  just  a  permit  office,"  says 
Oliver,  who  is  in  her  third  year  as  film 
commissioner.  "We  want  to  make  it  as 
easy  as  possible  for  filmmakers  by  helping 
them  every  step  of  the  way  from  script  to 
screen." 

With  this  in  mind,  last  January  Mayor 


Michael  Bloomberg  signed  into  effect  a 
15  percent  tax  credit  (10  percent  comes 
from  the  state  and  five  percent  from  the 
city)  for  filmmakers  who  complete  at 
least  75  percent  of  stage  work  in  the  five 
boroughs  as  part  of  the  "Made  in  NY" 
Incentive  Program.  The  initiative  also 
includes  free  ad  space  in  bus  shelters, 
phone  kiosks  and  other  city  media  (val- 
ued at  one  percent  of  NYC  production 
costs).  In  June,  the  "Made  in  NY" 
Discount  Card  was  added,  with  which 
filmmakers  can  take  advantage  of  special 
deals  at  more  than  300  NYC  vendors, 
including  hoteliers,  camera  dealers  and 
banks  among  others  during  the  course  of 
their  shoot. 

"The  whole  process  makes  indie 
movies  far  more  feasible,"  says  Mailer.  "I 
couldn't  have  shot  Kettle  of  Fish  here 
without  the  rebate.  I  would  have  had  to 
go  to  Canada  and  fake  New  York,  which 
happens  far  too  often." 


24  The  Independent  I  November  2005 


Not  only  is  the  price  right,  but  the  set 
options  are  endless.  There  are  iconic  New 
York  locales  (The  Empire  State  Building, 
The  Flatiron,  Wall  Street)  as  well  as  dis- 
tinctive neighborhoods  (Chinatown,  The 
Upper  East  Side,  Harlem). 

And  New  York  isn't  only  great  at  being 
New  York — it  can  stand  in  for  just  about 
any  other  setting  as  well.  Consider  Sex 
and  the  City's  Paris  finale  (shot  in  the 
West  Village)  or  the  Louisiana  of  Dead 
Man  Walking  (1995)  (filmed  in  Staten 
Island).  "Staten  Island  can  be  suburban, 
cosmopolitan,  quaint,  old-town  America, 
lush  forest,"  says  Oliver.  "There's  such 
diversity,  that  it  is  a  treasure  trove  for 
location  managers." 

When  it  comes  to  location,  according 
to  Mailer's  experience,  just  about  any- 
thing is  possible.  "To  my  knowledge, 
we've  never  been  turned  down  for  a  loca- 
tion," says  Mailer,  who's  shot  six  films  in 
New  York  City.  "There  are  certain  hot 
zones  where  a  lot  of  movies  shoot  one 
after  the  other,  and  those  neighborhoods 
get  testy  because  they're  tired  of  having 
film  trucks  on  the  street.  But  [the 
Mayor's  Office]  helps  with  that  too.  We 
shot  in  a  hot  zone  in  the  West  Village  for 
Kettle  of  Fish,  but  we  worked  and  parked 
our  truck  in  a  place  that  wasn't  offensive 
to  the  block.  Sure,  if  you  want  to  shut 
down  the  FDR,  there  will  be  some 
amount  of  negotiation,  but  I've  worked 
on  bigger  shoots  and  the  city  is  fairly  rea- 
sonable to  work  with." 

The  Mayor's  Office  has  helped  pull  off 
a  coup  or  two  in  its  day.  Remember  the 
scene  in  Vanilla  Sky  (2001)  where  a  con- 
fused Tom  Cruise  stumbles  through  an 
empty  Times  Square?  They  arranged  that 
shoot.  Or  the  footage  in  The  Interpreter 
from  inside  in  the  United  Nations?  They 
did  that  too.  In  fact  (just  a  little  trivia), 
The  Interpreter  was  the  first  film  ever  to 
gain  access  to  the  UN. 

The  permit  process  is  simple.  Just  go 
online  to  www.nyc.gov/film,  fill  out  the 
forms  and  turn  them  into  the  Mayor's 
Office  or  Film,  Theatre,  and 
Broadcasting  in  person.  From  there  the 
Mayor's  Office  is  at  your  service.  "The 
indie  film  world  began  here,"  says  Oliver. 
"And  we  are  dedicated  to  supporting  the 
industry."   if 


Feb.l6,17,&18,2006-Starkville,MS 


W/£. 


Our  9th  annual  "Mag"  welcomes 
all  genres,  all  lengths,  in  competition 
for  awards.  The  "Mag"  was  founded 
by  Ron  Tibbett  to  celebrate  his  vision 
of  Independent  film  in  Mississippi.  It  \ 
has  been  called  the  most  filmmaker 
friendly  festival  by  many  of  our  past 
contributors.  Entry  fees  are  $25  feature, 
$15  shorts  and  $10  student  film.  We 
are  proud  partners  with  Rhode  Island 
International  Film  Festival,  Tupelo 
Film  Festival,  Crossroads  Film  Festival 
and  Indie  Memphis.  


■ 


Congrats  to  all  2005  Mag  winners  including  Aruna  Naimji's  "One  Balloon", 
E.S.  Wochensky's  "Shoot  the  Moon",  Joe  Scott's  "Ocean  Front  Property" 
and  Joel  Fendelman's  "Tuesday". 

We  look  forward  to  seeing  you  down  in  the  deep  South. 


Entry  Forms:  Download  at  www.magfilmfest.com 
or  write  to:  Festival  Director 

2269  Waverly  Drive 

West  Point,  MS  39773 


Phone:  (662)  494-5836 
Fax:  (662)  494-9900 


November  2005  I  The  Independent  25 


ON  THE  SCENE 


After  the 

Michelle  Byrd  rebuilds  IFP  NY 


By  Elizabeth  Angell 

On  a  Monday  afternoon  last 
September,  IFP  Executive 
Director  Michelle  Byrd  sat  on  a 
patch  of  industrial  carpet  by  some  pay 
phones  outside  a  rest  room  in  the  Puck 
Building  in  downtown  Manhattan.  She 
was  dressed  in  a  smart  black  suit,  and  her 
cell  phone  buzzed  frequently  from  the 
confines  of  her  bag.  Visitors  to  the  bath- 
room brushed  past  her,  and  some  were 
clearly  surprised  to  find  her  in  this  odd 
spot.  She  was,  after  all,  the  doyenne  of 
IFP's  annual  Market,  the  industry  event 
being  held  upstairs.  "You  of  all  people 
should  have  a  chair!"  exclaimed  one 
woman. 

But  if  Byrd  wanted  to  prove  that  the 
organization  formerly  known  as  IFP  New 
York  is  thriving  after  its  split  from  IFP  LA 
(now  Film  Independent  or  FIND),  she 
could  ask  for  no  better  illustration  than 
the  fact  that  we  could  not  find  another 
quiet  place  to  have  a  conversation. 
Upstairs  the  Market  was  bustling  with 
producers  and  filmmakers  and  distribu- 
tors all  looking  for  future  independent 
success  stories.  It  was  just  four  months 
after  the  LA  branch's  decision  to  go  solo, 
but  Byrd's  organization  remained  intact, 
and  she  had  the  apparent  support  of  her 
board  and  members. 

"When  something  like  this  happens, 
there  is  a  lot  of  soul  searching,"  says  Ira 
Deutchman,  CEO  of  Emerging  Pictures 
and  chairman  of  the  board  of  IFP.  "Our 
board  concluded  that  not  only  were  we 
on  the  right  track,  but  we  were  on  the 
right  track  with  the  right  leadership." 

Byrd  is  now  firmly  at  the  helm  of  the 
27-year-old  IFP.  Last  spring,  rumors 
began  to  circulate  that  IFP  LA  wasn't 
happy   with    the    existing   arrangement, 


which  was  a  loose  affiliation  of  the  six 
chapters  (LA,  New  York,  Seattle,  Chicago, 
Miami  and  Minneapolis/St.  Paul).  Each 
branch  ran  its  own  programs  and  raised 
its  own  funds,  but  there  was  an  ongoing 
effort  to  offer  some  joint  programs  that 
would  benefit  all  members.  IFP  LA  had 
apparently  raised  the  issue  of  reorganiza- 
tion with  representatives  from  the  other 
branches  during  a  meeting  in  early  2005. 
They  hoped  to  centralize  IFP  governance 
and  programming  under  their  own  lead- 
ership.  The   other   boards    rejected   that 


plan,  and  IFP  LA  seceded  from  the  union. 
(Representatives  from  FIND  declined  to 
comment  for  this  article.) 

"The  world  of  independent  film  has 
changed  a  lot  in  the  last  25  years,  and  the 
independent  community  in  Southern 
California  has  grown  exponentially," 
wrote  Dawn  Hudson,  FIND's  executive 
director  in  her  formal  announcement  to 
the  members  of  the  split.  "With  each  IFP 
organization  operating  independently,  we 
had  no  national  structure  for  making 
decisions — yet  we  were  bound  by  tradi- 
tion and  a  common  name  to  consult  with 
each  other  and  attempt  to  achieve  con- 
sensus on  many  programs." 

According  to  New  York's  leadership, 
many  on  the  East  Coast — and  even  in 
the  Midwest — 
agreed  that  LA 
needed  to  go  its 
own  way.  "Over 
the  years,  the 
Los  Angeles 
organization  and 
the  New  York 
organization 
have  focused  on 
different  aspects 
of  the  needs  of 
independent 
filmmakers.  It's  not  only  caused  confu- 
sion but  a  few  incidences  of  banging  into 
each  other,"  says  Deutchman.  "I  think 
everyone  realizes,  on  both  coasts,  that 
this  move  is  great.  I  think  it's  a  revitaliza- 
tion  for  everyone." 

Though  the  five  remaining  IFP 
branches  will  continue  to  be 
autonomous,  charitable  organizations 
each  with  their  own  leadership,  boards, 
and  development  programs,  IFP  New 
York  emerged  as  the  clear  leader  of  the 
group.  It  is  now,  in  fact,  just  IFP;  no  need 


It 


26  The  Independent  I  November  2005 


ii  luuptruut^f  it 

fhe  indusf 


Diane  Weyermann  and  Nick  Fraser  on  a  panel  at  the  2005  IFP  Market  in  New  York 
[photo  courtesy  of  Edwin  Pagan] 


to  specify  place.  "We  are  the  mother- 
ship,"  says  IFP  board  member  Jeanne 
Berney  with  a  laugh 

For  the  time  being,  this  arrangement 
suits  the  satellite  chapters  just  fine. 
"We've  always  worked  very  closely  with 
the  New  York  chapter,"  says  Jane 
Minton,  executive  director  of  IFP 
Minnesota.  "And  I  like  [the  New  York 
branch's]  attitude;  I  like  what  they're  say- 
ing. Our  board  said,  'let's  try  it  this  way, 
where  it's  top  down.'  We  wanted  to  con- 
nect to  the  mission  of  the  organization  in 
a  serious  and  meaningful  way." 

Though  no  one  would  go  on  record 
about  exactly  what  the  differences  of 
opinion  between  LA  and  the  rest  of  the 
IFP  branches  were — what  issues  had 
caused  the  branches  to  "bang"  into  each 
other — it  is  clearly  more  than  just 
whether  IFP  would  have  a  central  hub. 
After  the  issue  of  leadership,  it  is  this 
question  of  "mission"  that  seems  to  be  at 
the  core  of  the  dissolution.  "We're  in  a 
period  of  sharpening  the  definition  of 
who  it  is  we  serve,  how  we  serve  them, 
and  what's  our  mandate,"  says  Byrd. 
"There's  a  reclaiming  of  what  it  means  to 
be  an  IFP  member." 


In  recent  years,  IFP  LA  had  focused 


For  all  their  differences  of 
opinion  on  programming, 
both  organizations  have  bowed 
to  the  pressure  to  glam  up  the 
sometimes  shabby  world  of 
independent  film,  and  both 
have  been  criticized  for  doing 
more  to  burnish  their  own  star 
power  than  to  serve  the  small- 
scale  filmmaker. 

FIND's  Indie  Spirits  are  a 
controversial       event       after 
Sideways,  a  critical  and  popular 
darling  that  cost  $18  million 
to  make,  was  allowed  into  the 
$15    million-and-under    cate- 
gory last  year.  For  its  part,  IFP 
has  the  Gotham  Awards,  a  cel- 
ebration of  films  that  Byrd  says 
are  "authentic  and  filmmaker 
driven."  The  Gothams,  which  will  take 
place  this  year  on  November  30th,  do 
not  impose  budget  limits  or  other  con- 
strictions; any  film,  even  a  studio  film,  is 


more  and  more  of  its  energies  on  the  Los      eligible  for  consideration  in  their  com- 


Angeles  Film  Festival  and  the 
Independent  Spirit  Awards.  New  York,  in 
contrast,  does  not  run  a  film  festival  and 
the  IFP  Market  held  each  September  no 
longer  even  shows  completed  feature 
films.  The  Market  was  launched  at  a  time 
when  there  were  few  venues  for  inde- 
pendent film;  today  there  are  countless 
theaters,  museums,  even  cable  channels. 
The  Market  now  shows  works  in 
progress,  giving  producers  a  chance  to 
scout  future  talents  and  projects.  Five 
years  ago,  says  Byrd,  the  Market  had 
taken  on  the  unpleasant  odor  of  an  also- 
ran  to  the  Toronto  International  Film 
Festival.  "Once  we  got  away  from  com- 


petitive categories.  "I  think  'independent' 
in  the  olden  days  may  have  meant  some- 
thing about  the  budget,"  says  Byrd,  "but 
now  I  think  the  word  means  something 
different  to  different  people.  It's  like 
'alternative;'  it's  subjective.  If  producers 
like  Christine  Vachon  and  Ted  Hope  self- 
identify  as  independent  filmmakers,  I 
don't  think  it's  appropriate  for  our  organ- 
ization to  try  to  invalidate  how  they  view 
themselves." 

All  the  IFP  branches  would  probably 
benefit  from  a  little  glamour  to  polish  up 
the  more  utilitarian  of  their  programs. 
Directors  labs  and  doc-making  panels  do 
not  attract  sponsorship  or  television  cov- 


pleted  work,  then  it  became  clear  why  erage.  While  FIND  appears  to  be  pour- 
they  would  come  here,"  she  says.  "It's  ing  many  resources  into  their  pursuit  of 
about  the  future,  it's  not  about  things  that       the  glamorous,  IFP  may  well  be  going  a 


weren't  good  enough  to  be  in  Toronto." 

The  New  York  chapter  runs  on  a  con- 
siderably smaller  budget  and  staff  than 
IFP  LA  ever  did,  a  circumstance  that  Byrd 
says  she  finds  satisfying.  "We  can  be  very 
nimble,"  she  notes.  "We're  not  a  massive 
monstrosity  that  can't  move  without  12 
other  moving  parts  also  moving." 


different  route.  Only  time  will  tell.  "We 
want  to  reach  out  to  the  next  genera- 
tion," says  Byrd.  "We're  asking  ourselves 
how  do  you  foster  those  filmmakers  and 
how  do  you  encourage  people  to  do 
things  that  are  not  so  popular,  to  make 
difficult  and  challenging  films."   it 


November  2005  I  The  Independent  27 


Bv  Rebecca  Carroll 


David  Strathairn  as  Edward  R.  Murrow  in  Good  Night,  and  Good  Luck  [Photo  by  Melinda  Sue  Gordon] 


If  you've  seen  a  John  Sayles  movie,  you 
know  who  David  Strathairn  is.  Sadly,  if 
you've  not  seen  a  John  Sayles  movie, 
you're  much  less  likely  to  have  ever  even 
heard  of  David  Strathairn.  He's  one  of 
those  I-know-I've-seen-him-somewhere 
actors  that  every  once  in  a  blue  moon  will 
pop  up  in  a  studio  film  like,  say,  Losing 
Isaiah  (1995),  but  is  more  likely  to  be 
seen  in  an  independent  film  you  stumble 
across  on  the  Sundance  or  IFC  channels, 
or  at  a  festival,  which  most  likely  will  end 
up  being  the  only  place  the  film  is  ever 
screened.  No  matter  where  you  end  up 
catching  a  performance  by  Strathairn, 
when  you  do,  it's  hard  not  to  be  struck 
almost  immediately  by  his  dark  good 
looks,  his  fierce  intensity,  and  the  fact 
that  he  is  a  wildly  good  actor. 

During  a  press  junket  in  September  for 
the  George  Clooney-directed  independ- 
ent Good  Night,  and  Good  Luck,  about 
the  confrontation  between  CBS  news- 
casters Edward  R.  Murrow  and  Senator 
Joseph  McCarthy  during  the  1950s,  I  sat 
down  with  Strathairn  to  talk  about  what 
it  was  like  to  be  Edward  R.  Murrow,  how 
America  thinks  about  television  and  film, 
and  the  virtues  of  pipe  smoke. 


Rebecca  Carroll:  The  first  thing  I 
noticed  when  I  was  watching  Good 
Night,  and  Good  Luck — and  it's  proba- 
bly because  I  just  had  a  baby  and  had  to 
quit  smoking — is  that  there's  a  lot  of 
smoking  going  on  there.  Real  smoking? 

David  Strathairn:  Yeah,  you  had  to.  You 
know  what  fake  smoking  looks  like. 

RC:  Yeah,  but  there  was  a  lot  of 
smoking. 

DS:  Forget  about  it.  It's  just 
heinous. 

RC:     Are  you  a  smoker? 

DS:      Nope. 

RC:      How  did  that  work  out? 

DS:  I  couldn't  not  do  it,  especially 
for  this  guy  [Edward  R.  Murrow] — you 
never  saw  him  without  one. 

RC:  Did  it  mess  with  your  throat 
at  all? 


DS:  I  thought  it  was  going  to,  but  I 
didn't  use  regular  cigarettes.  I  researched.  I 
tried  every  possible  kind  knowing  that  I 
was  going  to  have  to  smoke  20  or  30  a  day. 

RC:     Wow. 

DS:  Yeah,  one  day  I  smoked  51  cig- 
arettes. There  were  days  when  I  smoked 
more.  But  one  day  I  said,  I'm  going  to 
count  today.  But  I  tried  them  all — 
herbal,  Carltons,  Kents,  Pall  Malls, 
Gauloises,  Shermans — until  someone 
said,  "Why  don't  you  try  pipe  tobacco?" 
It  burns  slower,  it  doesn't  have  242  kinds 
of  chemicals,  and  it  smells  better.  And  I 
found  that  to  be  true.  It  doesn't  dig  into 
you  like  cigarettes  and  cigars. 

RC:  Even  when  I  was  a  smoker,  I 
couldn't  have  been  in  such  a  closed  space 
with  everybody  smoking  at  once — so  for 
a  nonsmoker,  you  pulled  it  off  pretty 
well.  But  what  a  cool  movie  this  is — 
although,  I  was  thinking  when  I  was 
watching  it:  How  do  we  watch  this  movie 
without  being  cynical?  The  moral  mes- 
sage is  such  a  nice  idea,  and  of  course  it 
comes  at  such  an  important  time. 


28  The  Independent  I  November  2005 


DS:  Because  it  comes  at  an  impor- 
tant time,  we  shouldn't  be  cynical  about 
it.  Murrow  is  still  referred  to  today,  and  I 
think  what  kept  him  going  was  an  innate 
hope  that  he  would  make  a  difference 
based  on  what  he  believed  journalism 
should  be.  It's  a  nostalgic  idea.  Some  peo- 
ple say  the  film  is  kind  of  sad — like  some- 
thing is  lost.  But  it's  not.  I  don't  think  it's 
cynical.  You  can  say,  "Yeah.  Look  at  how 
you  dropped  the  ball." 

RC:  I  don't  mean  that  the  film 
itself  is  cynical.  I  mean  that  it's  a  very 
hopeful  film  and  maybe  sad,  yes,  but 
the  fact  that  we  think  it's  sad  is  cynical. 
Do  you  know  what  I'm  saying? 

DS:  There  you  go — that  it  is  lost. 
Yeah.  Right  on.  That's  true. 

RC:  Because  Murrow  did  make  a 
difference,  but  where  do  we  look  for 
evidence  of  that  today? 

DS:  Well,  there  are  people  trying,  I 
think.  There's  Bill  Moyers'  approach  to 


journalism,  which  is  very  similar  to 
Murrow's  in  that  he  uses  it  to  educate — 
tell  a  great  story,  but  also  educate. 

RC:  I  think  that  what  can  happen, 
too,  is  that  the  educating  becomes 
entertainment  to  a  certain  extent. 

DS:      Yes,  that's  absolutely  true. 

RC:     When  did  that  happen? 

DS:  Well,  it  started  happening  right 
there  [in  the  film],  when  William  Paley 
[the  president  of  CBS  from  1928  until 
1946]  made  the  decision  that  more  peo- 
ple wanted  to  watch  /  Love  Lucy  more 
than  they  wanted  to  watch  the  senate 
sub-committee  hearings — they  don't 
want  a  civics  lesson,  they  want  to  watch 
Jack  Benny.  Fine.  And  that's  what's  great 
about  this  film.  It  shows  the  collision  of 
those  two  things.  Murrow  felt  that  televi- 
sion could  be  both  entertaining  and 
enlightening — that  it  should  be  both. 

RC:      There    was    a    real    palpable 


camaraderie  in  the  film — like  you  all 
were  having  a  very  good  time. 

DS:  We  were  having  a  great  time.  It 
was  like  making  news,  but  it  was  also 
like,  you  wanted  to  go  to  work. 

RC:  I  get  the  sense  that  your 
career  has  kind  of  been  like  that.  Like, 
you've  wanted  to  go  to  work. 

DS:      For  the  most  part,  yeah. 

RC:  You've  been  in  a  number  of 
John  Sayles'  films — when  did  your 
relationship  with  him  start? 

DS:  We  went  to  college  together — I 
didn't  really  know  him  then,  but  came  to 
know  him  about  seven,  eight  years  later 
at  a  summer  theater.  It's  been  great  work- 
ing with  him,  and  it's  so  much  fun.  You 
get  to  go  to  the  very  place  where  the  film 
takes  place.  Not  in  any  studio.  You're  not 
in  any  other  location  that  may  look  like 
the  film.  You  go  the  coal  mines  of  West 
Virginia  [Matewan,  1987].  You  go  to  the 


Film/Video 

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November  2005  I  The  Independent  29 


Bayou   [Passion  Fish,    1992].  You  go  to  RC:     So,  as  an  actor,  would  you  say 

Alaska  [Limbo,  1999].  that  you  approach  both  the  same? 


RC:     And  he's  such  a  great  writer. 

DS:  Yeah,  he's  a  great  storyteller 
because  he  respects  every  character  he 
creates. 

RC:  Kind  of  an  obvious  question, 
but  I'm  always  interested  in  actors  who 
work  in  both  independent  and  studio 
films.  How  are  the  two  experiences  dif- 
ferent for  you? 

DS:  With  bigger  films,  you  definite- 
ly feel  like  you're  sitting  on  a  bench  until 
they  say,  "Okay,  now  we  need  you,  come 
in.  Do  your  couple  laps  around  the 
track."  You  don't  feel  as  integrated  into 
the  community  of  the  film  as  you  do  with 
independent  films.  Independent  films 
become,  familial  might  not  be  exactly 
right  word,  but  you  just  feel  that  you're 
more  in  the  mix  than  with  larger  films. 
But  independent  films  have  all  the  trap- 
pings of  big  budget  films,  they  just  don't 
have  the  big  budget. 


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DS:  Yeah.  You  approach  your  work 
the  same. 

RC:  Goodnight  imparts  a  lesson. 
As  an  actor,  do  you  want  to  impart  les- 
sons for  people  to  go  away  with? 

DS:  Well,  film  and  television  and 
theater  are  becoming  our  literature.  You 
know,  people  don't  read  books.  It's  easier 
to  turn  on  the  television  set  or  go  see  a  film 
and  have  it  told  to  you.  And  so  it's  the 
responsibility  of  people  who  are  making 
film  and  television  to  understand  that  you 
are  the  literature.  You  are  the  thing  that 
people  learn  about  their  culture  from. 

RC:  Because  there's  no  stopping 
that  from  happening?  It's  going  to 
keep  becoming  more  and  more  so  the 
case,  right? 

DS:  Well,  great  question.  Because 
people  get  what  they  want.  Or  they  get 
what  they  deserve.  Or  they  get  what  they 


sometimes  unconsciously  ask  for.  You  can 
watch  a  reality  show  or  a  talk  show,  where 
people  are  dumping  their  dirty  laundry 
out  in  public,  or  you  can  watch  car  chas- 
es. You  watch  what  you  want.  But  I  think 
if  you  choose  to  be  a  voice  for  your  par- 
ticular culture,  it's  your  responsibility  to 
realize  the  power  and  the  potential  of  it. 
Much  as  Murrow  says  [of  television] :  It 
can  illuminate;  it  can  educate.  And  it  can 
inspire,  but  only  to  the  ends  to  which 
people  are  determined  to  use  it  towards 
those  ends.  And  you  know,  there's  the  rub 
right  there. 

RC:  Do  you  think  it's  possible  to 
create  parity  between  the  mediums  of 
film  and  television,  and  literature? 

DS:  That's  always  a  tough  blend.  I 
think  it's  a  different  psychological  thing 
that  we  do  when  we  read  a  book  as 
opposed  to  when  we  see  a  movie.  But  I 
think  yes,  we  can  try  to  [create  parity].  If 
you  look  at  reality  television,  it  is  such  a 
crass  invention  and  irresponsible  manip- 
ulation of  what  we  are  really  searching 
for.  Nevertheless,  it's  a  glimpse  into  our 


Support 

the  organization  that 
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Since  1973,  the  Association  of  Independent  Video 

and  Filmmakers  has  worked  tirelessly  to  support 
independent  vision.  Our  achievements  have  preserved 
opportunities  for  producers  working  outside  the  mainstream. 
For  just  $70/yr.  add  your  voice  to  ours,  and  let's  see  what 
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visit  usatwww.aivf.org 

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TOTALLY  INDEPENDENT 


30  The  Independent  I  November  2005 


psyche  as  a  culture.  Art  does  that,  too. 
And  art  films,  which  is  a  horrendous 
term,  or  independent  films,  do  it  in  a 
different  way.  Many  filmmakers  are  dis- 
covering how  to  visually  enthrall  people 
so  that  they  will  be  entertained,  and 
then  entertain  the  ideas  that  the  film  is 
entertaining  them  with. 

RC:  What  I  don't  really  under- 
stand is  how,  if  we're  looking  for  a 
glimpse  into  our  psyche,  why  reality 
television  prevails  over  an  art  exhibit 
or  a  book  or  a  film  that  really  will  tell 
you  some  things?  I  just  don't  believe 
that  it  is  because  people  are  smarter 
or  dumber  necessarily.  I'm  not  really 
clear  on  how  that  works. 

DS:  I'm  not  either.  I  have  a  crackpot 
idea  about  it,  though.  Film  and  televi- 
sion, and  what  literature  used  to  be — 
novels  and  stories  and  then  just  those 
people  sitting  around  the  campfire  telling 
the  stories — were  always  a  conduit,  or 
the  articulation  of  our  egos.  Our  narcis- 
sism. We  are  such  a  narcissistic  species. 
The  most.  People  flock  to  films  to  try  to 
see  themselves.  And  since  we  are  in  our 
adolescence  as  a  species — look  at  all  the 
hormones  going  wild  in  the  world — we 
are  going  after  things  as  adolescents 
would.  We're  looking  in  someone's  laun- 
dry bag  and  pulling  out  their  dirty 
underwear,  and  we  are  looking  to  see 
how  we  love  each  other  and  how  we  kill 
each  other.  There's  a  thirst  for  everything, 
and  it's  like  adolescent  behavior. 

RC:  You  know  who  would  agree 
with  you  is  Toni  Morrison.  She  gave 
this  really  extraordinary  commence- 
ment speech  somewhere  in  which  she 
was  talking  about  just  that — how  we 
are  always  looking  for  the  next  ulti- 
mate cosmetic,  the  truly  perfect  diet. 
She  said,  and  I  quote,  'While  children 
are  being  eroticized  into  adults, 
adults  are  being  exoticized  into  eter- 
nal juvenilia...' — and  that  achieving 
adulthood  is  a  difficult  beauty. 

DS:  That's  really  beautiful.  The 
thing  about  this  movie — to  apply  this 
film  to  this  kind  of  cock-a-mamie  theo- 
ry— there's  such  divisiveness  today  with 


Matt  Ross,  David  Strathairn,  Tate  Donovan  and  Reed  Diamond  in  Good  Night,  and  Good  Luck 
[Photo  by  Melinda  Sue  Gordon;  Warner  Independent  Pictures] 


everyone  needing  to  be  supported  in  his 
or  her  own  particular  belief.  They  go  to 
the  news  that  tells  them  what  they  want 
to  hear.  Murrow  wanted  to  tell  everybody 
what  everybody  needed  to  know  so  that 
they  could  develop  an  informed  opinion. 
In  December  of  every  year,  he  would 
bring  all  the  foreign  correspondents  to 
the  CBS  studios  in  New  York,  and  they 
would  sit  down  and  do  a  broadcast  under 
this  gigantic  map  of  the  world.  And  he 
would  say,  "Okay,  let's  talk  about  what 
happened  this  year."  That  doesn't  happen 
today.  Everybody  goes  into  his  or  her 
own  corner,  and  the  truth  is  so  relative. 
So  that's  why  I  think  art,  and  a  film  like 
this,  does  a  real  service. 

RC:  When  I  have  conversations 
with  friends  about  highbrow  and  low- 
brow culture,  I  often  here  the  response: 
"People  in  middle  America,  you  know, 
they  live  this  way  and  they  don't  want 
to  see  independent  films  with  real 
ideas."  But  how  did  that  happen? 

DS:  I  don't  know.  Someone  told  me 
the  other  day  that  they  had  read  a  statis- 
tic citing  that  in  a  survey  across  the  coun- 
try, 40  percent  of  biology  teachers  will 


not  teach  evolution. 

RC:  I  think  that  that  might  be 
true,  actually. 

DS:  So  that's  how  it  happens.  When 
you  are  a  little  kid,  what  do  they  teach 
you?  Or  how  do  they  teach  you?  How  are 
they  teaching  what  they  want  you  to 
know?  Who  wants  you  to  know  this? 
Why  are  you  not  being  cut  loose  to  go 
out  and  learn  by  yourself? 

RC:  Kind  of  scary.  So  what  would 
you  say  is  your  favorite  thing  about 
what  you  do? 

DS:  Learning.  You  do  a  Chekhov 
play,  and  suddenly  you  learn  about  a  part 
of  Russian  society  in  1906.  Or  with 
[Goodnight],  you  learn  about  this  period 
of  history  and  the  people — you  put  the 
microscope  down  into  the  details  of  what 
is  going  on  there.  That's  also  what  I  find 
really  great  about  John  Sayles'  pictures — 
whatever  the  subject  of  the  film  is,  you 
learn  what  it  would  mean  politically  and 
socially.  And  that's  what  art  can  do.  It 
really  can  open  up  so  many  more  win- 
dows objectively.    * 


November  2005  I  The  Independent  31 


Film  Sharin 

Indies 

make 
headway  on  the  digital 


BY  ELIZABETH  ANGELL 


frontier 


Like  any  indie  filmmaker  worth  his  outsider  cred,  San 
Francisco-based  director  Caveh  Zahedi  makes 
movies  that  defy  categorization.  His  most  recent 
project,  this  year's  /  Am  a  Sex  Addict,  is  a  "true" 
story,  an  odyssey  of  self-revelation  that  blends  documentary 
footage  with  scenes  that  feature  actors  reenacting  episodes  from 
Zahedi's  life.  Zahedi  plays  himself,  both  now  and  in  the  past. 

Zahedi's  maverick  film  is  making  the  rounds  at  small  festi- 
vals. It  has  had  a  few  short  runs  in  theaters,  and  he  hopes  to  sign 
a  DVD  distribution  deal  soon.  But,  as  any  small-scale,  essen- 
tially self-funded  filmmaker  knows,  it's  hard  for  Zahedi  to  reach 
his  audience — whoever  they  are,  wherever  they  are — in  the 
short  window  that  festivals  and  short-run  theatrical  distribution 
provides.  If  his  film  doesn't  catch  on  with  its  limited  audience 
while  the  movie  is  up  on  screens,  then  I  Am  a  Sex  Addict  is  like- 
ly to  remain  obscure.  Even  Zahedi's  small  cadre  of  established 
fans  risk  missing  it. 

To  solve  this  problem,  Zahedi  has  turned  to  the  frontier  of 
film  distribution:  video  on  demand  (VOD).  Through  the  sub- 
scription-based DVD-by-mail  and  VOD  company,  GreenCine, 
his  films  are  available  online  to  anyone  with  a  membership  who 
cares  to  download  his  catalogue  of  movies  and  watch  them  on  a 


computer  screen — Sex  Addict  will  soon  be  added  to  the  list.  On 
GreenCine,  his  films  can  take  their  time  attracting  a  following; 
the  film  will  never  leave  the  theater  or  be  yanked  from  the 
shelves  of  the  video  store.  "There  is  an  audience  for  these  films," 
he  says.  "And  it  can  be  as  small  as  it  needs  to  be,  and  it  can  take 
a  long  time  to  grow." 

For  Zahedi,  the  advantages  of  VOD  go  a  step  further  than 
finding  his  niche:  He  did  not  have  to  invest  any  of  his  money 
upfront  to  see  his  films  uploaded  onto  GreenCine's  site.  Not  a 
penny  of  his  limited  budget  was  spent  producing  DVDs  or 
designing  clever  packaging.  "VOD  is  cheaper  and  simple  and 
more  environmentally  sound,"  he  says. 

Video  on  demand  has  long  been  the  promise  of  the  Internet. 
Since  the  inception  of  online  commerce,  forecasters  have  sworn 
that  inexpensive  digital  content  download  was  just  around  the 
corner.  "There's  the  school  of  thought  that  if  you  can  consume 
it  digitally,  then  it's  only  a  matter  of  time  until  digital  con- 
sumption is  inevitable,"  says  Burgess  Wilson,  vice  president  of 
Business  Development  for  Image  Entertainment,  an  independ- 
ent film  distributor,  and  its  digital  subsidiary,  Egami  Media. 
"Long  term,  we  don't  think  digital  consumption  will  be  incre- 
mental. We  think  it  will  be  a  fundamental  shift." 


32  The  Independent  I  November  2005 


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For  1 5  years,  of  course,  that  promise  has  gone  largely  unful- 
filled. But  insiders  maintain  that  VOD's  time  has  finallv  come, 
and  filmmakers  who  ignore  the  potential  of  digital  distribution 
do  so  at  their  own  risk.  "A  year  ago  at  this  time,  there  was  no 
buzz,  no  talk,"  says  Wilson.  "But  now  its  all  everyone  talks 
about  in  the  trade  press  and  at  conferences.  It's  ramped  up  very, 
very  quickly." 

Several  factors  are  feeding  this  digital  "buzz."  The  first  is  a 
need  for  some  good  news.  Box  office  receipts  this  summer  were 
abysmal — a  fact  that  most  industry  watchers  attribute  to  a  dis- 
appointing slate  of  movies  but  that  others  suspect  may  be  the 
inevitable  result  of  presenting  moviegoers  with  too  many  choic- 


es. Instead  of  sitting  in  a  theater,  they  can  watch  hundreds  of 
cable  channels,  play  games,  or  sample  their  DVD  library. 
Perhaps  they're  finally  choosing  to  do  something  other  than  visit 
the  multiplex.  DVD  sales  have  also  slowed  down  in  recent 
months.  After  years  of  double-digit  growth,  the  market  seems 
close  to  saturation.  DVD  sales  account  for  almost  half  of  all  stu- 
dio revenues,  but  the  numbers  are  no  longer  exploding. 

Second,  it  looks  like  the  younger  generation  is  primed  for  an 
active  digital  marketplace.  After  all,  they've  been  downloading 
music  now  for  more  than  half  a  decade,  and  last  year,  the  peer- 
to-peer  software  BitTorrent  swept  though  the  internet. 
Designed    by    a    young   entrepreneur    named    Bram    Cohen, 


November  2005  I  The  Independent  33 


Filmmaker  Caveh  Zahedi  makes  movies  that  defy  categorization 


BitTorrent  allows  users  to  share  massive  digital  files  easily.  The 
software  breaks  down  films  into  manageable  chunks  and  then 
allows  users  to  download  those  chunks  simultaneously,  alleviat- 
ing the  agonizing  wait  for  a  movie  to  make  its  way  through  the 
pipes  onto  your  hard  drive.  The  software  mandates  that  every 
user  download  and  upload  simultaneously,  so  the  more  users, 
the  faster  the  entire  network.  Suddenly,  the  old  barriers  to 
downloading  movie  clips,  games,  episodes  of  TV  shows,  and 
even  entire  feature-length  films  were  suddenly  gone.  Some  ana- 
lysts estimated  that  BitTorrent  traffic  accounted  for  a  third  of  all 
sent  data  last  year. 

As  with  the  file-sharing  programs  that  rocked  the  music 
industry,  BitTorrent  scares  the  studios  and  major  distributors. 
The  Motion  Picture  Association  of  America  has  seen  to  it  that 
dozens  of  "Torrent"  sites  are  shut  down.  But  the  fact  remains 
that  young  people  are  ready  and  willing  to  watch  movies  as  dig- 
ital files  on  their  computers,  just  as  they  gave  up  buying  CDs  in 
favor  of  an  iPod  [see  page  TK]  and  online  music  malls. 

The  third  important  factor  fueling  the  talk  of  a  VOD  revolu- 
tion is  technology  itself.  Hardware  advances  may  have  finally 
caught  up  to  the  hype.  Consumers  today  have  internet  connec- 
tions capable  of  handling  massive  downloads.  "Most  households 
are  broadband  households.  There's  more  broadband  now  than 
dial  up,"  says  Bruce  Eisen,  president  of  CinemaNow,  one  of  the 
first  companies  to  devote  itself  exclusively  to  digital  distribution. 

A  slew  of  new  hardware  is  also  about  to  hit  the  market. 
Skeptics  have  always  maintained  that  movie  lovers  would  not 
want  to  watch  films  on  their  computer;  they  were  probably 


right.  Now,  tech  companies  are  hoping  they  have  the  goods  to 
convince  consumers  to  buy  new  devices  that  will  link  their  TVs 
to  their  PCs  or,  better  yet,  funnel  downloads  directly  into  their 
televisions. 

The  final  component  is  content.  Millions  of  paying  cus- 
tomers will  soon  have  both  high-speed  internet  connections  and 
shiny  new  boxes  on  top  of  the  televisions,  and  everyone  inter- 
viewed for  this  article  is  vying  to  have  a  healthy  library  of  titles 
for  them  to  access.  GreenCine,  CinemaNow,  and  Egami  are  just 
a  few  of  the  companies  who  hope  to  be  players;  the  bigger 
names — from  Netflix  and  Blockbuster,  Wal-Mart  and  Amazon, 
to  the  studios — are  no  doubt  already  planning  to  make  their 
presence  felt  in  the  digital  marketplace. 

To  be  sure,  industry  types  have  heard  all  this  before.  "The 
road  from  here  to  there  is  paved  with  expensive  technology  chal- 
lenges and  rights  challenges,"  says  Ted  Sarandos,  chief  content 
officer  of  Netflix.  "All  that  still  has  to  be  worked  out." 

Bo  Peabody,  a  venture  capitalist  who  has  funded  companies 
hoping  for  a  piece  of  the  action,  argues  that  the  public  is  not 
quite  ready  for  all  that  new  technology.  "The  incentive  to 
upgrade  your  TV  is  just  not  that  big  yet,"  he  says.  "In  order  for 
me  to  want  to  go  out  and  buy  a  $500  TV,  I've  got  to  be  sure  it 
works.  You're  going  to  get  the  early  adopters  and  then  they  have 
to  show  the  followers  and  then  it'll  trickle  down.  It's  going  to 
take  time.  There's  a  lot  of  hardware  that  has  to  get  bought  and 
updated  before  we're  going  to  switch  over." 

Boosters  say  all  these  "ifs"  make  this  the  perfect  moment  to 
get  in  on  VOD.  "To  date  we've  made  very  little  money  from 
VOD,  but  we  wanted  to  be  in  on  the  beginning  of  something," 
says  Alex  Afterman,  founder  of  Heretic  Films,  an  independent 
distribution  company  that  specializes  in  horror,  cult,  and 
exploitation  films.  No  one  wants  to  be  the  last  to  arrive  at  the 
party  for  fear  that  there  won't  be  any  room  left.  "You  can't  wait 
until  [the  VOD  market  has]  matured,  because  then  it's  too  late," 
says  Wilson. 

Others  are  now  learning  what  Zahedi  has  known  for  a  while: 
VOD  is  a  cheap  experiment.  "The  barriers  to  entry  for  digital 
are  still  low  today  because  you  don't  have  the  commitment  to 
physical  goods,"  says  Wilson.  "You  don't  have  to  press  a  certain 
amount  [of  DVDs],  store  them,  ship  them,  deal  with  returns. 
All  you  have  to  do  is  ship  [the  digital  file]  to  a  server,  market  it, 
and  promote  it.  Right  now  it's  a  land  grab,  but  it  will  level  off." 

Price  structure  is  one  of  the  unanswered  questions  that  pops 
up  during  any  conversation  about  VOD.  No  one  is  quite  sure 
what  to  charge  for  a  digital  download.  "We  call  it  the  Wild 
West,"  says  Wilson,  "because  no  model  has  been  established 
yet." 


34  The  Independent  I  November  2005 


Ira  Deutchman,  CEO  of  Emerging  Pictures,  agrees:  "I  think 
we're  going  to  see  a  lot  of  experimentation  when  it  comes  to 
price.  Right  now,  for  the  most  part,  people  are  giving  [content] 
away  which  doesn't  do  anyone  any  good.  All  they're  really  prov- 
ing is  that  the  technology  works  and  people  might  tune  in.  The 
next  step  is  going  to  be  about  who  can  harness  this  in  a  produc- 
tive way." 

One  of  the  next  questions  that  will  need  to  be  answered  is  in 
what  form,  exactly,  consumers  will  want  their  digital  movie 
downloads.  Will  they  want  to  buy  films  and  store  them  forever 
on  a  hard  drive  at  home,  or  will  they  choose  to  "rent"  VOD  and 
watch  a  movie  within  a  certain  period  of  time,  the  way  many 
pay-per-view  channels  work  today?  Independent  distributors  are 
betting  that  subscription  services,  similar  to  the  one  pioneered 
by  Netflix,  will  suit  their  audience  best. 

"Ultimately,  I  don't  know  what's  going  to  happen,  but  I  am 
very  strong  proponent  of  the  idea  that  subscription  VOD  is  the 
killer  application  for  independent  film,"  says  Deutchman.  "If 
you  think  about  the  way  that  most  people  consume  television, 
with  a  clicker  in  their  hands,  they  only  stay  with  something  if  it 
really  jumps  out  at  them.  But  independent  film  is  not  sticky  like 
that.  People  who  aren't  familiar  with  an  independent  film  prob- 
ably aren't  going  to  be  grabbed  by  it." 

Deutchman  believes  that  like  the  DVD-by-mail  services, 
VOD  will  help  expand  the  audience  for  independent  film. 


Bosko  says  he  will  be  glad  to  see  short  films  get  the  attention 
they  deserve.  "It's  always  been  a  tough  market  for  shorts,"  he 
notes.  "They're  a  great  training  ground  and  great  lor  festivals, 
but  then  what  do  you  do?  Now  all  of  a  sudden  there's  a  new 
market  for  them." 

As  all  these  possibilities  begin  to  sort  themselves  out,  film- 
makers are  left  to  ponder  the  implications  for  the  long-term.  For 
the  foreseeable  future,  studios  will  continue  to  invest  huge 
amounts  of  money  in  the  full  range  of  distribution  options:  from 
theatrical  to  DVD  and  VOD.  But  what  about  the  indies?  Should 
they  still  pursue  time  on  the  big  screen?  "I  get  a  filmmaker  a 
week  trying  to  hold  out  for  theatrical,  and  I  try  to  discourage 
them,"  says  Bosko,  who  works  as  a  marketing  and  distribution 
strategist  to  indie  filmmakers  through  his  company,  the  Bosko 
Group.  He  warns  that  filmmakers  must  invest  huge  amounts  of 
money  in  promotion  to  make  a  theatrical  release  worthwhile. 
"Even  with  films  that  do  well,  the  filmmakers  break  even  at 
best,"  he  notes.  "For  all  the  humping  and  work  involved,  it's  not 
worth  it." 

He  does  concede  however,  that  "there  are  still  a  lot  of  labels 
and  DVD  distributors  who  want  to  say  'theatrical  release'  on  the 
box." 

Eisen  agrees  that  a  theatrical  release  will  no  longer  be  manda- 
tory. "I  think  content  will  be  produced  specifically  for  the  VOD 
market,"  he  says.  To  some  degree,  that  prediction  has  already 


The  incentive  to  upgrade  your 
TV  is  just  not  that  big  yet." 

— Bo  Peabod 


Netflix  and  its  kin  have  made  independent  films  available  to 
many  people  who  could  not  see  offbeat  films  in  their  local  the- 
aters or  were  limited  to  the  titles  stocked  at  their  local 
Blockbuster.  VOD  may  similarly  expand  their  palette.  "If  peo- 
ple can  watch  what  they  want,  when  they  want,  then  [VOD] 
will  grow  the  market  for  independent  film,"  says  Deutchman. 

Digital  content  on  demand  may  also  benefit  the  makers  of 
short  films.  Analysts  say  that  mobile  phones,  as  well  as  televi- 
sions, will  be  prime  places  for  storing  and  watching  video,  and 
short-format  work  is  perfect  for  those  tiny  screens.  "People  have 
started  watching  films  on  phones  already,"  says  Mark  Bosko, 
author  of  The  Complete  Independent  Movie  Marketing  Handbook 
and  the  upcoming  DVD  On  Demand.  "There  are  services 
already  buying  up  catalogues  and  buying  rights  to  short  films." 


come  true:  Dark  Town,  a  low-budget,  independent  horror  film 
that  was  released  last  year  exclusively  on  VOD  was  one  of  the 
top-grossing  films  in  that  format.  It  beat  out  many  better-known 
titles  that  had  done  time  in  a  theater. 

No  need  to  mourn  the  end  of  the  movie  theater  quite  yet,  par- 
ticularly if  you're  not  a  15-year-old  playing  video  games  on  your 
cell  phone.  "People  are  still  going  to  go  to  theatres,"  says 
Deutchman.  "It'll  just  be  the  older  generation  who  still  have  a 
sense  of  a  movie  theater  as  a  destination.  I  don't  know  what  it'll 
mean  for  studios,  but  I  think  it's  going  to  be  very  good  news  for 
independents.  People  will  want  to  go  out  and  see  a  good  movie." 

Pretty  soon,  the  movie  theater  will  be  the  only  place  left  where 
you  won't  have  unlimited  choice.  It  might  just  be  a  relief.  ■& 


November  2005  I  The  Independent  35 


BY  ETHAN  ALTER 


Ask  any  independent  filmmaker  how  they  got  their 
first  movie  made  and  you're  sure  to  hear  a  great  story. 
Kevin  Smith  maxed  out  his  credit  cards  to  pay  for 
Clerks  (1994),  Quentin  Tarantino's  Reservoir  Dogs 
(1992)  script  found  its  way  into  Harvey  Keitel's  hands,  and 
Robert  Rodriguez  sold  his  body  to  medical  science  to  cover  the 
1992  El  Mariachis  $7,000  budget.  As  for  Matt  Tauber,  writer 
and  director  of  the  upcoming  feature  All  Fall  Down...  well,  he 
sent  an  email.  That  may  not  sound  very  impressive  at  first,  but 
reserve  your  judgment  until 
you've  heard  the  whole  tale.  In 
March  2004,  Tauber  was 
working  as  a  producer  on  the 
Maggie  Gyllenhaal  film  The 
Great  New  Wonderful  directed 
by  his  friend  and  producing  partner  Danny  Leiner.  "Because  it 
was  a  low-budget  movie,  I  shared  an  office  with  the  film's 
accountant  who  was  working  for  maybe  $100  a  day,"  he 
remembers.  This  underpaid  numbers  cruncher  regularly  over- 
heard Tauber  trying  to  drum  up  more  money  to  finance 
Wonderful.  "One  day  he  turned  to  me  and  said,  'Have  you  ever 
thought  about  contacting  Mark  Cuban?'" 


Down 


An  unusual  upswing  for  one  indie 
filmmaker — thanks  to  HDNet  Films 


A  brief  pause  here  for  station  identification.  Mark  Cuban,  of 
course,  is  the  media-sawy  billionaire  businessman  and  outspo- 
ken owner  of  the  Dallas  Mavericks  basketball  team.  More 
importantly,  he  is  the  co-founder  of  2929  Entertainment,  the 
company  that  owns  the  Landmark  Theaters  chain  as  well  as  the 
high-definition  satellite  television  network  HDNet.  Along  with 
his  business  partner  Todd  Wagner,  Cuban  steadily  moved  more 


36  The  Independent  I   November  2005 


Viola  Davis  as  Tonya  in  All  Fall  Down  directed  by  Matt  Tauber  [photo  by  Macall  Polay/HDNet  Films] 


into  film  production,  launching  HDNet  Films  in  2003.  Under 
the  guidance  of  Jason  Kliot  and  Joana  Vicente,  who  produced 
such  well-received  pictures  as  Chuck  &  Buck  (2000)  and  Lovely 
&  Amazing  (2001),  the  production  arm  of  HDNet  planned  to 
finance  at  least  eight  narrative  films  and  four  documentaries  a 
year,  all  of  them  shot  on  high-definition  video  and  none  exceed- 
ing a  budget  of  $2  million.  The  company's  first  release,  Enron: 
The  Smartest  Guys  in  the  Room,  bowed  this  past  spring  to  posi- 
tive reviews  and  a  strong  box-office. 

Considering  Cuban's  stature  in  the  media  world,  it's  under- 
standable why  Tauber  wasn't  exactly  sold  on  his  accountant's 
suggestion.  "I  asked  him  if  he  knew  Mark  Cuban,  and  he  said 
no,  but  that  he  had  his  email  address.  I  asked,  'How  did  you  get 
his  email  address?'  And  he  said  that  it  was  shown  on  Best  Damn 
Sports  Show  Period  the  other  night."  Thinking  nothing  would 
come  of  it,  Tauber  gave  the  accountant  the  OK  to  send  Cuban 
an  email  about  The  Great  Neiv  Wonderful.  "Four  hours  later  we 
got  an  email  back  from  Will  Battersby,  the  director  of  develop- 
ment at  HDNet  Films,  saying  that  Mark  Cuban  had  passed  our 
letter  along  to  him  and  that  they  wanted  to  discuss  the  project 
further." 

Ultimately  HDNet  didn't  sign  on  to  produce  The  Great  New 
Wonderful  ("It  just  didn't  work  out,"  Tauber  says),  but  Tauber 
struck  up  a  friendship  with  Battersby  and  eventually  decided  to 


pass  him  the  script  for  his  own  film,  All  Fall  Down.  A  probing 
familial  drama  about  class  and  race-relations  set  in  the  suburbs 
and  projects  of  Chicago,  the  film  wasn't  exactly  mainstream 
material.  But  that's  precisely  why  HDNet  was  interested  in  the 
project.  "It's  a  movie  that  almost  no  one  in  this  country  would 
make,"  Kliot  says  proudly.  "And  we  want  to  make  movies  that 
other  people  wouldn't  because  we  can." 

All  Fall  Down  began  its  life  as  a  play  entitled  The  Architect, 
which  Tauber  first  encountered  at  the  Edinburgh  Theater 
Festival  in  the  mid-90s.  Written  by  Scottish  playwright  David 
Greig,  The  Architect  dealt  in  part  with  the  problems  of  public 
housing  in  modern-day  Glasgow.  At  the  time,  Tauber  was  living 
in  Chicago,  and  he  was  struck  by  the  socio-economic  similari- 
ties between  the  two  cities.  After  getting  Greig's  blessing  to 
transform  the  play  into  a  feature  film  set  in  Chi-town,  the  aspir- 
ing filmmaker  spent  the  next  seven  years  slaving  over  the  script; 
he  even  traveled  to  Sundance  Institute  in  2002  to  workshop  it 
in  the  Screenwriters  Lab.  "That  was  an  amazing  experience, 
both  as  a  practical  and  inspirational  source  for  developing  the 
material,"  he  says.  "I  think  the  world  of  that  organization."  By 
2004,  Tauber  had  a  finished  screenplay,  which  revolved  around 
a  well-to-do  architect  in  suburban  Chicago  whose  life  is  thrown 
into  turmoil  when  he  is  confronted  by  an  activist  resident  of  a 
South  Side  housing  project  that  he  designed  several  years  before. 


November  2005  I  The  Independent  37 


Originally  intended  to  provide  the  poor  with  a  decent  place  to 
live,  the  buildings  have  instead  become  magnets  for  criminals 
and  drug  dealers.  This  professional  failure  reverberates  at  home, 
where  the  architect  finds  his  relationship  to  his  wife  and  chil- 
dren growing  increasingly  strained. 

Seven  years  is  a  long  time  to  be  living  with  one  script,  but  all 
that  effort  clearly  paid  off,  as  it  was  the  strength  of  the  writing 
that  convinced  HDNet  to  fund  the  movie.  "We  read  Matt's 
script  and  knew  we  had  to  make  this  film,"  Kliot  says.  "With  us, 
it's  all  about  quality.  We  believe  that  quality  scripts  will  attract  a 
quality  cast  and  crew."  Kliot's  mantra  was  proven  correct  when 
Anthony  LaPaglia,  Viola  Davis,  and  Isabella  Rossellini  all  signed 
on  to  play  leading  roles  after  reading  the  screenplay  Directing 
such  a  seasoned  trio  of  actors  would  be  a  daunting  challenge  for 
any  filmmaker,  particularly  one  making  his  feature  debut.  But 
according  to  Tauber,  each  of  the  performers  came  prepared  to 
serve  the  material.  "Every  actor  in  this  movie  had  a  real  appre- 
ciation and  reverence  for  their  individual  characters  and  the 
story  as  a  whole,"  he  says.  "As  a  result  there  was  a  level  of  com- 
mitment and  professionalism  that  was  really  inspiring." 

Tauber's  script  was  instrumental  in  bringing  another  high- 
profile  name  aboard  the  project:  veteran  cinematographer  John 
Bailey.  "I've  always  been  attracted  to  movies  that  deal  with  char- 
acters in  crisis,  particularly  in  the  context  of  a  nuclear  family," 
says  Bailey,  whose  credits  include  As  Good  as  It  Gets  (1997)  and 
Ordinary  People  ( 1 980) — which  Tauber  is  quick  to  cite  as  one  of 
his  favorite  movies.  "And  that's  what  this  film  does.  Unlike  so 
many  stories  that  deal  with  race  relations  in  a  confrontational 
manner,  this  is  a  project  that's  very  human  and  very  honest.  It's 
a  film  that  deals  with  race  in  a  non-confrontational,  non-violent 
way,  and  I  think  we  need  more  movies  that  tackle  these  issues  in 
that  spirit." 

In  signing  on,  Bailey  knew  that  he  would  be  working  on  a 
limited  pre-production  schedule  with  a  novice  director.  But  the 
two  hit  it  off  right  away,  and  Tauber  was  eager  to  learn  every- 
thing he  could  from  his  DP.  "As  a  first  time  filmmaker  whose 
background  is  in  theater,  I  find  that  I'm  very  connected  to  the 
story  and  the  characters'  emotional  experience,"  he  explains.  "I 
can  articulate  all  of  that  very  well  to  John,  but  I  can't  always 
articulate  the  best  way  to  communicate  that  visually.  Sometimes 
I'll  have  ideas  that  inspire  John  and  then  he  takes  them  to  the 
finish  line.  More  often  than  not,  it's  John  introducing  an  idea 
and  us  bouncing  it  back  and  forth.  And  whenever  there's  a 


Z 

a 


i 

o 


c 

CO 


standstill,  I'm  able  to  unlock  the  answer  by  telling  John  what  I 
want  the  audience  to  feel,  and  he  helps  me  find  a  way  to  trans- 
late that  feeling  into  visual  terms." 

"I  feel  extraordinarily  privileged  to  be  working  this  way," 
Tauber  continues.  "Every  director  can  track  back  to  that 
moment  when  they  first  decided  to  become  a  filmmaker  and  for 
me  it  was  seeing  Ordinary  People  as  a  kid.  That's  when  I  learned 
that  I  want  to  make  people  feel  how  that  movie  made  me  feel. 
So  to  work  with  John  now  is  unbelievable."  For  his  part,  Bailey 
is  pleased  that  Tauber  is  more  interested  in  his  characters  than 
in  the  camera.  "When  I  talk  to  students,  I  always  tell  them 
'Please  don't  get  lost  in  the  technology.'  It  really  isn't  that  impor- 
tant. It's  much  more  important  to  understand  your  material 
inside  and  out  the  way  Matt  does  and  to  be  able  to  articulate 
that  to  your  DP." 

All  Fall  Down  was  filmed  over  the  summer  in  a  marathon  21- 
day  shoot  with  New  York  standing  in  for  Chicago.  Tauber  had 
initially  hoped  to  make  the  movie  in  the  Windy  City,  but  that 
would  have  pushed  the  movie  over  HDNet's  $2  million  limit. 
Fortunately,  production  scouts  found  a  Staten  Island  neighbor- 
hood that  made  a  convincing  substitute  for  the  North  Shore 
suburbs,  and  the  Bronx  doubled  for  the  South  Side.  In  addition, 
Tauber  was  able  to  take  a  crew  to  Chicago  for  two  days  of  exte- 
rior shooting.  The  tight  production  schedule  left  little  margin 
for  error  or  experimentation,  which  the  director  felt  some  regret 
about  later  on.  ("You  always  want  more  choices  in  the  editing 
room,"  he  says  now.)  Despite  the  intense  pace,  filming  went 


38  The  Independent  I  November  2005 


smoothly.  A  visit  to  the  Staten  Island  set  one  sweltering  July 
afternoon  found  the  cast  and  crew  in  good  spirits  even  though 
they  knew  they  were  in  for  a  long  shoot.  Not  only  was  it  their 
final  24  hours  at  this  location,  but  Rossellini  had  to  be  wrapped 
by  the  end  of  the  day.  Tauber  seemed  to  be  taking  the  stress  in 
stride  though,  which  pleased  his  pal  Leiner,  a  producer  on  All 
Fall  Down.  "It's  nice  to  see  him  doing  so  well,"  he  says.  "This  is 
an  ambitious  movie  that's  being  made  under  hard  conditions, 
and  he's  handling  it  with  grace."  The  actors  were  equally  com- 
plimentary. "The  great  thing  about  first-time  directors  is  that 
they  are  totally  into  the  acting,"  says  Davis,  who  plays  the 
activist  that  confronts  the  architect  (LaPaglia)  about  the  sorry 
state  of  his  housing  project.  "Matt  wants  to  make  each  scene 
good — he's  not  just  trying  to  get  the  shot." 

Speaking  again  a  few  weeks  after  shooting  wrapped,  Tauber 
was  happy  to  report  that  the  film  finished  on  time  and  under 
budget — a  nice  accomplishment  for  a  first-time  director.  Still, 
there's  a  part  of  him  that  can't  help  but  wish  he  had  had  more 
time  both  in  pre-production  and  during  filming.  "With  our 
time  frame,  we  were  kind  of  locked  in  to  some  of  the  choices  we 
made.  Coming  from  the  school  of  theater,  I  generally  like  to 
create  an  environment  for  creative  discourse,  but  there  just  was- 
n't time  for  that  here.  I  learned  very  quickly  that  I  had  to  com- 
municate specifically  what  I  was  looking  for  to  the  cast  and 
crew,"  he  says. 

To  a  certain  extent,  Tauber's  directorial  decisions  were  also 
determined  by  technology.  All  Fall  Down  was  shot  on  a  Sony 
HDW-F900  (also  known  as  the  CineAlta),  a  top-of-the-line 
high-definition  digital  camcorder.  "It's  really  the  only  usable 
camera  for  small  productions,"  says  Bailey,  adding  that  the 
CineAlta's  only  competition  would  be  the  Panasonic  Varicam. 
"That  one  is  more  compact.  The  Sony  is  bigger  and  not  partic- 
ularly flexible."  Flexibility  is  another  thing  that  Tauber  wishes 
he  had  had  more  of  during  the  shoot.  "It  would  have  been  nice 
to  have  a  camera  that  was  a  little  more  facile,"  he  admits.  "We 
would  have  been  more  mobile  and  would  have  been  able  to 
work  a  little  faster.  But  at  the  same  time,  would  we  have  as  beau- 
tiful an  image  if  we  had  used  another  camera?  The  film  looks 
incredible,  so  I  really  can't  have  any  regrets  in  that  regard." 

Kliot,  for  one,  hopes  that  audiences  will  notice  the  superior 
image  quality,  not  just  in  All  Fall  Down,  but  in  every  HDNet 
production.  "The  first  stage  of  the  digital  revolution  was  using 
any  kind  of  digital  mechanism  you  could  to  make  a  movie  that 
would  be  acceptable  to  viewers,"  he  says.  "When  Joana  and  I 
made  Chuck  &  Buck  and  Lovely  &  Amazing,  there  were  limita- 
tions to  what  the  image  quality  could  accomplish.  You  couldn't 
make  a  movie  without  people  knowing  you  were  making  a  low- 
budget  digital  movie.  We  didn't  want  to  do  that  anymore.  At 
HDNet,  we're  making  movies — not  low-budget  movies,  not 
digital  movies — we're  making  movies.  And  we're  making  them 
for  far  less  than  anyone  in  Hollywood.  You'll  see  it  in  the  films 


we  put  out  there.  No  one  is  going  to  say,  'Oh,  that's  just  a  dig- 
ital movie." 

In  addition  to  All  Fall  Down,  the  company  has  four  narrative 
films  in  the  can,  three  of  which  premiered  at  the  Toronto 
International  Film  Festival  in  September.  The  highest-profile 
title  is  Steven  Soderbergh's  Bubble,  the  first  in  a  series  of  six  films 
that  the  sought-after  director  will  direct  for  HDNet.  Also  on 
their  release  slate  is  the  offbeat  comedy  One  Last  Flung  starring 
Cynthia  Nixon,  the  terrorist-themed  drama  Fhe  War  Within, 
and  Diggers,  a  '70s-era  film  about  clam  diggers  on  Long  Island 
with  Paul  Rudd  and  Maura  Tierney.  "Our  mission  statement  is 
'no  limits',"  Kliot  remarks  about  this  varied  line-up.  "We're 
open  to  anything.  We're  basically  going  for  movies  that  we  want 
to  make  and  we  want  to  see." 

According  to  Tauber,  who  is  currently  in  week  two  of  his  1 5- 
week  post-production  schedule,  the  plan  is  to  have  All  Fall 
Down  ready  for  the  2006  Sundance  Film  Festival.  A  national 
release  date  has  yet  to  be  determined,  but  when  it  does  open,  the 
film  will  follow  the  unique  distribution  pattern  of  every  HDNet 
release.  On  the  same  day  the  movie  opens  in  theaters,  it  will  also 
air  on  the  HDNet  network.  "This  is  kind  of  taboo  in 
Hollywood,"  Kliot  says.  "Certain  art  chains  will  not  show  inde- 
pendent movies  if  they  are  also  shown  on  cable."  It's  a  good 
thing  then  that  Cuban  and  Wagner  own  the  Landmark  Theater 
chain,  guaranteeing  that  HDNet's  movies  will  always  get  a  the- 
atrical release  and  that  profits  will  flow  directly  back  to  2929 
Entertainment.  In  Kliot's  opinion,  this  set-up  is  the  "only  work- 
ing model  I've  encountered  for  low-budged  independent 
movies.  Simply  financing  features  for  an  independent  produc- 
tion company  is  a  really  bad  proposition;  you're  going  to  lose 
money  even  if  your  movie  is  successful  because  you're  not  par- 
taking in  the  entire  chain  of  revenue.  In  this  case,  even  if  we 
don't  make  breakout  hits,  we're  making  money  for  Landmark, 
2929  Entertainment,  and  Mark  and  Todd  in  general.  I'm  excit- 
ed because  I  can  make  a  feature  or  documentary  and  not  have 
to  worry  about  it  being  the  next  Clerks  or  Blair  Witch  Project 
every  time." 

While  Tauber  is  also  excited  to  be  a  part  of  this  new  indie  dis- 
tribution model,  he's  primarily  pleased  that  HDNet  gave  him 
the  chance  to  finally  realize  his  pet  project  onscreen.  "Having 
lived  with  It  in  your  imagination  for  so  long,  seeing  All  Fall 
Down  fully  realized  is  kind  of  an  awesome  experience,"  says  the 
newly  minted  indie  filmmaker,  adding  that  he's  currently  work- 
ing on  another  film  script  and  might  direct  a  play  sometime 
next  year.  "It  still  doesn't  dawn  on  me  sometimes.  The  other 
day,  I  was  looking  at  some  footage,  and  I  noticed  a  blouse  that 
one  of  the  young  actresses  was  wearing.  My  first  thought  was 
"Oh,  maybe  I  picked  the  wrong  shirt  for  her."  And  then  it  sunk 
in:  It's  done.  She's  wearing  that  shirt  for  eternity.  It's  strange  to 
have  that  finality  after  so  many  years  of  limitless 
imagination. ""& 


November  2005  I  The  Independent  39 


BY  DEREK  LOOSVELT 


For  years,  digital  cameras  and  post-production  equip- 
ment have  been  changing  the  way  films  are  budgeted, 
shot,  and  edited.  But  no  matter  how  films  are  made 
today,  theatergoers  still  watch  them  on  35  millimeter 
celluloid  prints.  Even  when  a  film  is  shot  on  high-definition 
video,  the  distributor  has  to  copy  the  master  onto  celluloid 
before  sending  it  to  a  theater.  Film  projectors  and  the  process  of 
printing  and  shipping  prints — a  financial  line  item  costing  dis- 
tributors $  1  billion  annually — have  been  more  or  less  the  same 
for  nearly  a  century. 

But  this  is  all  about  to  change.  In  the  past  few  months,  US 
distributors  have  begun  to  replace  physical  thirty-five  millime- 
ter prints  with  digital  bit  streams,  which  can  be  beamed  to  stu- 
dios by  satellite  and  then  shown  using  digital  projectors,  devices 
expected  to  spell  the  end  of  bulky  canisters  and  reels  of  film. 
Also  gone  will  be  pops  and  jiggles  on  the  screen  as  well  as  dirt 
and  scratches  that  celluloid  collects  after  several  uses.  Most 
important,  the  advent  of  digital  projection  means  distribution 
costs  will  plummet,  bringing  down  budgets,  which  will  free  up 
billions  of  dollars  each  year  to  produce  additional  content  and 
significantly  reduce  the  price  of  placing  big-  and  low-budget 
films  in  theaters.  According  to  Screen  Digest,  if  all  of  the  approx- 
imately 100,000  screens  in  the  world  went  digital,  distributors 
could  save  over  $2  billion  a  year. 

Given  the  huge  cost  savings,  it  might  be  surprising  to  learn 
that  digital  projection  technology  has  been  available  for  many 
years.  But  what  stalled  the  transition  was  finding  an  answer  to 
an  economic  question:  Who'll  pay  for  it? 

Nearly  all  of  the  financial  advantages  of  moving  to  digital 
projection  go  straight  into  distributors'  pockets,  with  little  if  any 


Thinking  Ou 


benefit  going  to  theaters.  Understandably,  theaters  figured  tick- 
et sales  wouldn't  increase  much  if  films  were  shown  digitally 
rather  than  on  celluloid.  Studios,  meanwhile,  didn't  want  to 
foot  the  bill  for  installing  servers  and  projectors,  which  cost  up 
to  $100,000,  nor  did  they  want  the  responsibility  of  upgrading 
and  maintaining  the  new  equipment.  Theaters,  in  turn,  were 
weary  of  getting  hammered  with  replacement  costs  caused  by 
inevitable  innovations  that  would  make  equipment  obsolete. 

To  address  these  and  other  issues  related  to  the  digital  transi- 
tion, Digital  Cinema  Initiatives  (DCI),  a  consortium  of  seven 
Hollywood  studios  along  with  theater  owners  and  tech  manu- 
facturers, was  created  in  2002. 


DCI's  first  order  of  business,  before  discussing  any  economic 
details,  was  addressing  picture  quality.  According  to  Charles  S. 
Swartz,  executive  director  and  CEO  of  the  Entertainment 
Technology  Center,  a  research  unit  at  USC  within  the  School  of 
Cinema-Television  where  DCI  conducted  its  research,  "No  one 
wanted  to  step  back.  Sure,  prints  get  scratched  and  dirty  and 
break,  but  when  they  look  good,  they  really  look  good.  The 
image  in  digital  had  to  equal  or  excel  what  film,  at  its  best,  can 
create.  All  the  testing  we  did  was  subject  to  that  underlying 
premise."  Thanks  to  Texas  Instruments  technology,  specifically 
TI's  2K  chip,  comprised  of  2,048  horizontal  mirrors  and  1,080 
vertical  rows  or  lines,  Swartz  and  DCI  were  able  to  meet  their 


40  The  Independent  I  November  2005 


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What  happens  when 
35mm  goes  digital? 


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aesthetic  goals. 

In  addition  to  the  2K  technology,  which  most  digital  projec- 
tors use  today,  Swartz  notes,  "Now  we  also  have  the  possibility 
of  4K  projectors,  with  a  lot  of  promise  to  reach  even  higher  res- 
olution, which  might  be  good  in  certain  situations,  but  resolu- 
tion alone  isn't  the  only  factor  that  makes  a  satisfactory  image. 
Contrast  and  color  saturation  are  equally  important." 

This  past  July,  three  years  after  its  inception,  DCI  unveiled 
version  1.0  of  its  uniform  specifications  for  digital  projection, 
outlining  standards  for  debated  issues  such  as  file  resolutions, 
compression  formats,  and  security  requirements.  The  specs  also 
ensured  that  replacements  costs  and  upgrades  would  be  mostly 


November  2005  I  The  Independent  41 


CO 
Q 


CM 
Q. 
O 


avoided,  and  gave  control  of  the  data  produced  by  digital  pro- 
jectors to  theater  owners,  who  didn't  want  studios  to  have  access 
to  information  such  as  exactly  when  a  film  played,  which  could 
allow  a  distributor  to  interfere  with  theaters'  decisions  like  mov- 
ing a  poorly  attended  film  to  a  smaller  theater. 

However,  notably  absent  from  DCI's  1.0  release  was  any 
mention  of  who  would  pay  for  the  transition,  leading  many 
insiders  to  believe  the  transition  still  stood  at  a  stalemate. 

While  DCI  unveiled  its  specs  on  the  West  Coast,  overseas  the 
transition  to  digital  projection  was  already  well  on  its  way.  In 
the  UK,  with  the  economic  backing  of  the  UK  Film  Council,  a 
government  entity,  over  200  theaters  were  being  outfitted  with 
digital  projectors.  In  Ireland,  with  the  help  of  Avica  Technology 
Corporation,  a  California-based  digital  exhibition  company, 
every  one  of  the  country's  515  screens  were  in  the  middle  of  a 
similar  process,  though  funded  by  private  entities  rather  than 
public  organizations. 

Using  its  European  arm,  Avica  raised  40  million  largely 
through  third-party  investors.  The  company  is  providing  pro- 
jectors to  theaters  on  a  custodial  basis,  planning  to  recoup  its 
costs  from  distributors,  which  Avica  hopes  will  hand  over  the 
many  they  currently  put  towards  printing  and  shipping  film — 
no  official  deal  to  do  so  is  in  place.  If  all  goes  as  planned, 
though,  neither  the  distributor  nor  the  theater  will  have 
incurred  any  cost  increases  during  the  transition  to  digital  and, 
after  the  switch  has  been  made,  distributing  costs  will  go  down 
significantly. 


According  to  Swartz,  similar  deals  are  the  wave  of  the  future 
in  the  US,  where  the  transition  to  digital  is  gaining  traction. 
The  switch  won't  involve  government  intervention,  of  course, 
but  instead  will  occur  through  the  free  market.  "Third-party 
entities  seem  to  be  the  formula,"  says  Swartz,  pointing  to  film 
labs  or  companies  like  Kodak  and  others  involved  in  the  busi- 
ness of  providing  images  as  possible  initiators. 

One  company  in  the  US  pushing  the  switch  to  digital  is  net- 
working company  Access  Integrated  Technology  (AIX),  which 
last  June  partnered  with  one  of  the  leading  digital  projector 
manufacturers,  Christie  Digital  Systems.  Christie/AIX  has  since 
committed  to  bringing  digital  cinema  to  more  than  2,500  US 
screens  in  the  next  two  years.  A  few  months  before  the 
Christie/AIX  announcement,  Landmark  Theaters  jumped  into 
the  digital  projection  pool,  promising  to  move  to  digital  formats 
in  all  its  59  theaters  using  Sony's  4K  projectors,  which  incorpo- 
rate design  specifications  compatible  with  DCI's  guidelines. 
Another  significant  deal  came  this  past  September,  when  Disney 
revealed  that  its  distribution  arm  Buena  Vista  Pictures 
Distribution  had  entered  into  a  non-exclusive  agreement  to  sup- 
ply feature  films  to  DCI-compliant  Christie/AIX  digital  projec- 
tion systems.  The  announcement,  the  first  of  its  kind,  is  expect- 
ed to  be  followed  by  similar  ones  from  other  studios,  setting  the 
stage  for  the  demise  of  celluloid  prints. 

With  the  transition  achieving  momentum  in  the  US,  Swartz 
says  there's  a  strong  motivation  for  it  to  happen  quickly, 
because,  in  the  short  term,  while  the  changeover  is  occurring, 
distribution  costs  will  actually  increase.  Distributors  will  have  to 
support  two  separate  inventories:  film  and  digital  files.  As  a 
result,  Swartz  predicts  that  by  the  end  of  the  year,  hundreds  of 
screens  will  be  equipped  with  the  new  projectors.  (As  of  last 
July,  less  than  100  out  of  a  total  of  about  35,000  screens  in  the 
US  were  equipped.)  By  the  end  of  2005,  he  says  that  number 
should  rise  into  the  thousands.  And  by  the  end  of  2007,  it  could 
be  in  the  tens  of  thousands.  "We'll  see  it  everywhere,"  he  says. 
"In  North  America,  in  Europe,  in  Asia.  The  numbers  are  huge." 

Once  firmly  in  place  in  theaters,  digital  projection  will  not 
only  change  how  we  watch  content  but  also  what  we  watch. 
Paul  Boutin,  a  Wired  contributing  editor  and  technology 
columnist  for  Slate.com,  predicts,  "It'll  be  easier  to  try  new 
things  to  see  if  they  work  or  not."  Will  theaters  beam  in  the  next 
U2  tour  or  World  Cup  match?  "I  don't  know,"  he  says,  "but  it's 
almost  a  given  that  we'll  see  a  lot  of  experimenting.  At  first,  a  lot 
of  the  experiments  will  be  dumb,  but  eventually  theaters  will 
figure  out  what  works." 

Birth  of  the  Portable  Video  Player 

Lately,  no  one  has  figured  out  what  works  for  consumers  bet- 
ter than  Apple,  which  in  September,  introduced  the  latest  iPod 
spawn  called  the  iPod  nano,  a  slimmed-down,  super-sleek  ver- 
sion of  Apple's  ubiquitous  portable  music  player.  On  the  same 
day,  Apple  also  revealed  it  had  partnered  with  Motorola  to  pro- 
duce the  ROKR,  a  cell  phone  that  doubles  as  an  iPod,  albeit  one 
that  can  store  just   100  songs  versus  iPod  nano's   1,000-song 


42  The  Independent  I  November  2005 


holding  power  and  the  60GB  iPod's  15,000.  In  the  world  of 
portable  music  players,  there's  no  competition:  Apple's  on  top 
with  no  one  close  behind.  But  in  the  world  of  portable  video 
players,  with  Apple  still  nowhere  to  be  found,  the  field's  wide 
open. 

"It's  like  California  right  before  the  Gold  Rush,"  says  Peter 
Rojas,  a  tech  contributor  to  Wired,  the  New  York  Times,  and 
Fortune,  as  well  as  editor-in-chief  of  Engadget,  an  online  maga- 
zine that  covers  personal  technology.  "Everyone's  waiting  for 
Apple  to  create  the  platform,  but  it  doesn't  look  like  they're 
going  to  have  anything  anytime  soon."  Will  anyone  beat  Apple 
to  the  punch?  "I  don't  thing  so,"  says  Rojas.  "But  I  wish  some- 
one would  get  their  act  together." 

There  have  been  some  impressive  recent  releases,  though. 
Unveiled  this  past  summer,  Creative's  Zen  Vision  is  "the  biggest 
device  out  there  for  the  fall,"  says  Rojas.  "Creative  really  gets  it 
down."  He  also  points  to  Sony's  PlayStation  Portable  as  another 
decent  handheld.  "It's  vastly  underrated  as  a  portable  video 
device,"  he  says.  "Millions  and  millions  are  selling.  A  lot  of  peo- 
ple are  buying  them  as  game  devices  but  carrying  them  around  as 
video  devices.  People  have  realized  it  has  a  beautiful  screen." 

Maybe  Apple  is  trying  to  say  something  through  its  silence. 
With  respect  to  handheld  video  devices'  popularity,  some  insiders 
think  the  devices  will  never  be  a  mass  phenomenon,  that  there'll 
never  be  vast  numbers  of  people  who'll  want  to  carry  around  a 
small  screen  to  watch  a  movie,  even  a  short.  "That  might  be  a  fair 
thing  to  say,"  says  Rojas.  "But  it's  largely  culturally  specific.  People 
who  say  portable  video  devices  are  never  going  to  happen  have 
never  been  to  Seoul." 

Because  so  much  of  commuting  in  the  US  takes  place  in  auto- 
mobiles, audio  media  takes  precedence  here:  You  can  listen  to 
audio  while  driving,  but  you  can't  drive  while  watching  a  video. 
Which  is  why  portable  video  devices  in  train-commuting  cultures 
such  as  Japan  and  Korea  have  caught  on.  Rojas  adds  that  in  Asia, 
people  are  "slightly  ahead  of  the  curve.  They're  already  using 
portable  video  in  large  numbers,  and  they've  been  e-mailing  and 
taking  pictures  using  cell  phones  for  years.  They're  even  watching 
videos  on  cellular  devices."  He  predicts  that  this  phenomenon 
will  soon  take  off  in  the  US,  opening  new  venues  for  filmmakers. 
"Large  numbers  of  cell  phones  will  be  video  enabled,"  he  says, 
noting  that  cell  phone  film  festivals  have  already  been  staged  in 
the  US,  and  companies  such  as  Nokia  and  Verizon  are  support- 
ing short-form  content. 

But  not  too  many  people  are  currently  creating  content  for  the 
format.  "The  audience  is  there  to  be  exploited,"  says  Rojas,  "and 
there's  a  dearth  of  really  good  content  being  delivered  over  the 
internet  and  via  wireless."  There  are  complicating  factors  involved 
in  doing  so,  though,  such  as  the  difficulty  of  sending  and  down- 
loading video  to  cell  phones  and  the  fact  that  you  can't  legally  rip 
a  DVD  to  a  video  handheld  like  you  can  a  song  to  an  iPod. 

At  USC's  Entertainment  Technology  Center,  Swartz  has  per- 
formed initial  studies  to  understand  how  people  respond  to 
portable  video  players.  "As  a  category,  they'll  definitely  take  off," 
he  says,  adding  that  they'll  be  used  for  a  variety  of  purposes, 
including  watching  movies  outside  the  home  in,  say,  a  doctor's 


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Directors  at  ShoWest  Ready  for  3D  (l-rj  George  Lucas,  Robert 
Zemeckis,  Randal  Kleiser,  Robert  Rodriguez,  James  Cameron 
[photo  courtesy  of  Boyd  MacNaughton  of  NuVision] 

office  waiting  room.  "On  a  five-inch  screen,  you  likely  won't 
want  to  watch  Lawrence  of  Arabia"  he  says,  "but  you  might 
watch  a  Bill  Murray  comedy,  and  though  it  would  suffer  some- 
what, you  could  still  find  it  to  be  a  very  enjoyable  experience." 
Indeed,  comedy  rather  than  dark  drama  or  horror  would  trans- 
late better  to  the  smaller  screen,  especially  because  viewing  on 
portables  largely  takes  place  in  bright  environments.  {The  Blair 
Witch  Project  probably  wouldn't  be  very  scary  on  a  five-inch 
LCD.)  Additionally,  the  devices  would  lend  themselves  to  con- 
tent in  which  you  can  dip  in  and  out,  as  well  as  to  short-form 
content.  Made-for-TV  video,  not  as  visually-oriented  as  that 
made  for  the  big  screen,  would  also  be  user-friendly.  Swartz 
points  out  that  because  portable  video  devices  will  at  some 
point  in  their  lives  likely  be  tethered  to  stationary  devices  to 
download  content,  you  might  find  developments  such  as  kiosks 
at  Starbucks,  where,  while  waiting  for  your  espresso  to  drip,  you 
could  plug  in  and  download  a  movie,  which  you  could  then 
take  home  and  watch  on  your  60-inch  LCD  TV. 

To  independent  filmmakers,  this  means  an  increase  in  outlets 
and  the  possibility  of  bypassing  the  costly  distribution  phase.  "If 
a  movie's  good,"  says  Boutin,  "it  can  get  around  by  word  of 
mouth.  People  might  even  download  a  movie  widely  enough 
that  a  theatrical  distributor  will  want  to  pick  it  up." 

That  said,  there  was  a  lot  of  speculation  and  forecasting  that 
independent  music  groups  would  get  picked  up  by  major  labels 
because  of  their  internet  play — and  that  hasn't  happened.  "In 
music,  I  haven't  seen  anybody  getting  rich  without  the  market- 
ing power  of  big  labels,"  admits  Boutin,  "so  I  assume  that  same 
thing  would  apply  to  filmmakers.  They  would  just  be  getting 
more  people  to  see  their  movie.  The  big  question  is,  'Would  this 
then  make  it  easier  to  for  them  to  get  backing  for  their  next 
project?'" 

It  also  remains  to  be  seen  whether  portable  video  devices  will 
follow  the  iPod  philosophy — do  one  thing  very  well — say, 
improving  upon  the  portable  DVD  player,  or  go  the  multi-plat- 
form route,  possibly  combining  game-playing,  Wi-Fi,  and  video 
capabilities.  Swartz  points  to  the  clock  radio  as  a  potential 
model.  "That's  my  iconic  device,"  he  says,  "because  it  adds  one 
and  one  and  gets  three.  As  a  clock,  it  does  its  job  very  well,  and 
as  a  radio,  it  does  its  job  well.  Plus,  it  has  a  third  function,  it 
wakes  you  up  to  the  radio.  That's  something  you  can't  do  with 
two  separate  devices,  even  if  they  operate  perfectly."    * 


November  2005  I  The  Independent  43 


BOOKS 


5 


The 

World 
Wild 

Web 


Hillman  Curtis'  new  media  project  journa 


By  Brandon  Hopkins 

Hillman  Curtis  on  Creating  Short  Films 
for  the  Web,  by  Hillman  Curtis,  New 
Riders,  224  pages 

Award-winning  graphic  designer 
and  new  media  guru  Hillman 
Curtis's  latest  offering  is  a  project 
journal-cum-artist's  statement  thinly 
disguised  as  a  digital  video  primer.  As  a 
technical  guide,  Hillman  Curtis  on 
Creating  Short  Films  for  the  Web  (the  title 
is  as  much  a  mouthful  as  that  of  his  last 
book,  MFIV:  Process,  Inspiration,  and 
Practice  for  the  New  Media  Designer,  also 
published  by  New  Riders)  leaves  much  to 
be  desired.  But  as  the  collected  experi- 
ences of  an  exceptional  talent  braving  the 
frontier  of  web-based  digital  video  pro- 
duction, it  is  worthy  of  attention. 

Touching  on  a  broad  range  of  genres, 
Curtis's  handsomely  produced  book  cov- 
ers several  of  his  projects  from  2001  to 
the  present,  including  a  series  of  video 


portraits,  a  study  in  movement  set  to 
Mogwai's  "Colden  Porsche,"  and  his  "60 
Seconds  with..."  series  filmed  for 
RollingStone.com,  as  well  as  an  interview 
with  designer  James  Victore,  two  experi- 
ments in  nonlinear  storytelling,  and  a 
short  narrative,  "Film  on  Film,"  which 
Curtis  wrote  and  produced. 

The  strongest  technical  section  of  the 
book  is  contributor  Jens  Loeffler's  appen- 
dix, "Why  Flash  Video?"  which  provides 
instruction  for  using  the  application  as  a 
web-based  video  player.  (Readers  of  this 
magazine  will  note  that  David  Aim,  a 
contributing  editor  at  The  Independent, 
also  helped  with  the  book.)  But  the  chap- 
ter on  "Getting  Started"  is  perfunctory 
and  far  too  short  on  details  to  serve  as  a 
guide  for  the  uninitiate.  Despite  the 
book's  short  index,  there  is  no  convenient 
organization  to  the  instructional  compo- 
nents. Indeed,  Curtis's  discussions  of  the 
book's  initial  conception  suggest  that  he 


never  intended  it  to  be  a  reference  manu- 
al. His  appeal  for  artists  to  put  their 
hearts  into  everything  they  do  is  the  real 
message,  and  it's  not  long  before  the  read- 
er understands  that  little  direct  technical 
instruction  should  be  expected. 

Though  some  may  be  surprised  by  the 
naivete  he  exhibits  in  his  new  role  as  film- 
maker, Curtis  makes  no  bones  about 
being  a  neophyte.  Recounting  how  he 
interviewed  the  band  Sum  41  near  an 
open  window  above  a  busy  Manhattan 
street  using  only  his  camera's  built-in 
microphone,  he  admits  being  surprised 
to  discover  in  post-production  that  the 
audio  was  practically  unusable.  Sagely  he 
concludes  that  it  might  be  a  good  idea  to 
use  a  unidirectional  mic  and  headphones, 
and  to  check  the  sound  quality  while 
filming...  One  routinely  gets  the  sense 
that  at  least  the  biggest  directorial  blun- 
ders could  have  been  avoided  had  Curtis 
consulted  a  guide.  And  fledgling  film- 


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44  The  Independent  I  November  2005 


makers  with  a  small  project  or  two  under 
their  belts  will  doubtless  have  already 
gleaned  similar  lessons  from  their  prelimi- 
nary flubs. 

But  Curtis's  wide-eyed  excitement  and 
the  utter  sincerity  of  his  approach  make  it 
easy  to  pardon  such  fumbling.  His  inno- 
cence and  candor  grant  us  an  opportunity 
to  join  a  legend  in  the  field  of  design  on  his 
first  ride  on  a  new  bicycle — and  he  spares 
us  none  of  his  thrills  or  spills.  While  some 
of  the  descriptions  of  his  experiments 
betray  a  touch  of  self-indulgence,  he  man- 
ages to  balance  a  "Look,  ma,  no  hands!" 
attitude  with  an  appropriate  amount  of 
self-criticism.  And  when  he  does  succeed  in 
popping  a  wheelie,  it  might  not  be  original, 
but  it's  a  wheelie  all  the  same. 

In  spite  of  the  overall  weakness  of  the 
book's  instructional  aspect,  each  chapter 
manages  to  impart  a  bit  of  wisdom,  espe- 
cially when  read  alongside  the  videos  post- 
ed on  hillmancurtis.com.  With  one  excep- 
tion, all  of  the  projects  discussed  in  the 
book  can  be  found  on  the  site.  The  author's 
later  DV  work  supplements  our  under- 
standing of  his  development  as  a  filmmak- 
er, and  his  meditations  on  commercial  and 
fine  art  are  greatly  informed  by  his  inter- 
views with  designers   Paula  Scher,   Stefan 


A  dancer  whom  Curtis  filmed  for  his  study 
of  movement,  on  www.hillmancurtis.com 


Sagmeister,  and  Milton  Glaser.  (His  inter- 
view with  James  Victore  is  the  weakest  of 
the  series — a  fact  Curtis  himself  calls  to  our 
attention  in  the  book.)  Also  on  the  site  is 
the  second  installment  of  his  "Films  on 
Films"  series.  After  reading  about  and 
watching  the  first  short  in  the  series,  "La 


\f{'iUlhfr  L4-  *  $4fr'4  tlyfe. :-,  (nd  J/vt  only  o/te  *lo*-iU  tWLhfr.     Gustave  Flaubert 


James  A.  Michener  Center  for  Writers 

MFA  IN  WRITING 


Combine  SCREENWRITING 
with  playwriting,  fiction, 

or  poetry  in  our  unique 
interdisciplinary  program  in 
Austin,  Texas:   the  country's 

third  coast  for  film  arts. 


Fellowships  of;'$20,0 
512/471.1601 


annually  for  three  years. 
www.utexas.edu/academic/mcw 


© 


THE  UNIVERSITY  OF  TEXAS  AT  AUSTIN 


3rd  ANNUAL  TRENTON  FILM  FESTIVAL 

CALL  FOR  ENTRIES 

The  Trenton  Film  Festival  asks  filmmakers  from  around  the  world  to 
submit  films  for  the  3rd  Annual  Trenton  Film  Festival,  May  5  -  May  7, 
2006.  in  New  Jersey's  capital  city.  Over  ninety  films  were  screened  last 
year  at  our  multi-venue,  three-day  event    Win  cash  prizes  and  the 

Categories 

♦  Narrative  Feature 

♦  Narrative  Short 

♦  Documentary  Feature 

♦  Documentary  Short 

♦  Foreign  Feature 

♦  Foreign  Short 

♦  Experimental 

♦  Animation 

♦  Family  Short 

"Ernie"  l-Beam  trophy.  Filmmakers  can  submit  via  Withoutabox  or  with 
a  pdf  submission  form  available  at  www.TRENTONFILMFESTIVAL.org. 

ALL  ENTRIES  MUST  BE  POSTMARKED  BY  FEBRUARY  1 .  2006 

Submission  Fees:  $45  Feature;  $35  Short,  S25  Student  Disc  (w/ID) 

Submit  Form  &  check  to; 

Trenton  Film  Festival  Submissions.  PO  Box  22430,  Trenton.  NJ  08607 

For  info,  visit  www.TrentonFilmFestival.orq  or  call  609-396-6966 

November  2005  I  The  Independent  45 


FILM 
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Elevate  your  appreciation  for 
cinema  at  the  38th  annual 
Worldfest  Houston  International 
Film  and  Video  Festival. 
Enjoy  60  feature  premieres, 
104  shorts  and  9  seminars  at 
Houston's  AMC  Meyer  Park 
16.  The  festival  is  open  to  the 
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available.  Come  see  the  art  of 
film  taken  to  the  next  level. 

WORLDFEST-HOUSTON 
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Curtis'  first  experiment  in  nonlinear  storytelling:  a  30-second 
advertisement  for  his  book  was  posted  on  www.newriders.com 


duction  as  a  shipwrecked 
man  with  only  his 
DVX100  as  a  life  buoy. 
Indeed,  once  we  get  past 
the  initial  smokescreen  of 
"Getting  Started,"  he 
abandons  the  pretense  of 
writing  a  tech  guide  and 
tears  into  the  meat  of  why 
his  foray  into  digital  film- 
making was  essential  to 
him.  Given  Curtis's  leg- 
endary status  in  the  field 
of  graphic  design,  it 
should  come  as  no  sur- 
prise that  his  meditations 
on  reconciling  commer- 
cial and  fine  art  are  the 
most  engaging  part  of  the 
book.  Reading  how  Curtis 
has  used  new  media  as  a 
way  of  reconnecting  with 
life  through  art  will  inter- 
Dolce  Vita,"  which  is  pretentious  but  est  anyone  seeking  to  take  advantage  of 
inoffensive  (even  if  it  does  go  for  the  the  low  cost  of  DV  production  and  to 
jugular  of  the  soi-disant  cineaste),  its  join  this  revolution  in  storytelling, 
refreshing  to  see  Curtis  loosen  up  by  whether  the  project  be  muse-inspired  or 
making    a    more    effective    confessional       market-driven. 

piece  whose  comic  backbone  is   This  Is  Throughout  the  book,  Curtis  also  per- 

Spinal  Tap  (1984).  sistently   and    convincingly   argues    that 

Perhaps  the  most  valuable  practical  les-  Flash  is  the  platform  to  use  for  web-based 
son  Curtis  teaches  is  "Don't  try  to  trick  video.  This  is  no  mere  advertisement  or 
your  audience."  More  an  ethos  than  a  set  statement  of  personal  preference.  His 
of  techniques,  his  demand  for  directness  observations  are  clear  and  correct,  and  he 
and  artistic  honesty  pervades  this  book.  leaves  no  doubt  that  Flash  is  the  future  of 
Aware  that  it  is  all  too  easy  to  overuse  DV  Web-based  video.  Furthermore,  he  makes 
effects  to  distract  from  a  project's  empti-  a  strong  case  for  DV  as  an  art  form  unto 
ness,  Curtis  vilifies  his  own  attempt  to  itself,  an  argument  that  (thankfully)  has 
use  such  gimmicks  to  repair  the  music  begun  to  seem  obvious — but  Curtis's 
video  he  was  commissioned  to  shoot  for  weighing  in  on  the  matter  is  more  than 
the  band  Superdrag.  Damning  the  entire       helpful. 

project   as   a   failure   to    understand   the  The    flaws    of    Hillman    Curtis    on 

underlying  story,  he  details  the  dire  con-  Creating  Short  Films  for  the  Web  are  ulti- 
sequences  of  following  "the  buzz"  instead  mately  vindicated  by  what  its  author  calls 
of  his  heart.  There  is  no  shortage  here  of  his  "Do-It- Yourself  Philosophy":  Only  by 
mantras  meant  to  help  filmmakers  estab-  trying  and  failing  can  an  artist  learn  his 
lish  a  link  between  commercial  projects  craft.  What  we  have  here,  then,  is  not  a 
and  their  own  artistic  goals,  fostering  primer,  per  se,  but  Hillman  Curtis's  diary 
respect  for  clients,  themselves,  and  their  of  wandering  in  the  wilds  of  a  new  medi- 
shared  endeavors.  um  in  search  of  effective  techniques  and 

The  outstanding  strength  of  the  book,  a  new  aesthetic.  The  beginner  who  buys 
and  the  reason  to  plunk  down  $34.99  to  the  book  expecting  technical  assistance 
buy  it,  is  its  autobiographical  element.  will  be  left  to  the  wolves.  But  DV  film- 
From  the  first,  Curtis  creates  a  dramatic  makers  of  all  levels  of  competency  may 
personal  setting  for  the  stories  he  will  tell,  find  inspiration  in  the  fruits  of  experience 
painting  a  portrait  of  himself  in  his  intro-       Curtis  harvests  here.    *k 


46  The  Independent  I  November  2005 


Compact,  Versatile,  Portable. 

Hi-def.  Digital.  It  means  working  smaller  and  lighter.  With  an  even 
higher  premium  on  quality.  That's  why  Lowel,  the  world  leader  in 
location  lighting,  has  a  whole  range  of  easy-to-carry  digital- 
friendly  kits.  Their  ease  of  use  and  versatility  are  the  perfect 
match  for  your  new  way  of  shooting. 

The   kits  feature  a  variety  of  compact,   light-weight  lights  and 


accessories,  many  with  our  Rifa  collapsible  soft-light  that  sets  up 
in  less  than  a  minute. 

Speed.  Reliability.  Value.  It  all  goes  together.  _ 


800-334-3426  www.lowel.com 


LEGAL 


Pay  Per 

View  or 

Mobile 

Phone: 

Where 

will  your 

film  end 

up? 

By  Fernando  Ramirez,  Esq. 


Every  time  a  new  type  of  technology 
is  developed  in  the  entertainment 
industry,  including  in  motion  pic- 
tures, issues  arise  regarding  whether  use  of 
that  new  technology  was  intended  in  the 
original  agreement  or  license. 

When  does  an  agreement  or  a  license 
granting  a  company  rights  to  a  copyright- 
ed work,  include  uses  not  yet  discovered? 
The  matter  goes  as  far  back  as  silent  pic- 
tures when  the  question  was  whether  the 
license  to  use  copyrighted  material  in  a 
silent  movie  also  included  the  right  to  use 
the  same  material  in  the  new  medium  of 
"talkies."  The  potential  for  problems  con- 
tinues to  exist  for  producers  today  who 
acquire  rights  to  pre-existing  material  or 
who  grant  their  film  rights  to  a  distributor. 
If  the  terms  are  not  clearly  stipulated,  the 
question  then  is  who  reaps  the  entire 
windfall  associated  with  the  new  medi- 
um— whatever  that  new  medium  may  be. 
Over  the  years,  the  courts  have  contin- 
ually examined  new  technology  issues. 
Most  of  the  recent  cases  involve  videocas- 
sette  rights.  Disney,  Paramount,  MGM, 


CBS,  Lucasfilm,  the  actor  Mickey  Rooney, 
the  films  Casablanca  (1942)and  American 
Graffiti  (1973),  and  even  the  children's 
book  character  Curious  George  (which  by 
the  way  is,  or  was  at  some  point,  licensed 
by  Universal  Pictures  and  Imagine 
Entertainment),  have  all  been  involved  in 
litigation  regarding  whether  a  particular 
grant  of  rights  included  future  technologies. 

Excluding  a  clear,  new  or  future  tech- 
nologies clause,  which  covers  the  DVD 
market  in  a  licensing  agreement  for  a  film 
or  television  program,  would  mean  being 
cut  out  of  a  market  that  grosses  $24  billion 
a  year.  And  that's  just  in  the  United  States. 
These  figures  are  not  limited  to  major  stu- 
dios either  {Shrek  2,  which  in  its  first  three 
days  on  shelves  sold  12.1  million  DVD 
and  video  units  combined,  1 1  million  of 
which  were  DVDs),  but  also  include  the 
independent  world  with  documentaries 
such  as  Super  Size  Me  (2004)  selling  over 
one  million  DVD  units,  and  narrative 
films  like  Napoleon  Dynamite  (2004)  mak- 
ing over  63  million  dollars  in  DVDs 
alone,  a  figure  that  surpasses  its  box  office 
receipts. 

DVD  is  hardly  a  new  technology.  It 
does,  however,  clearly  mark  the  quickness 
with  which  technology  emerges  and  how 
lucrative  well-developed  technologies  can 
be  in  the  entertainment  business.  While 
just  about  every  area  of  entertainment — 
including  television  viewership,  movie- 
going,  and  even  CD  sales — was  declining, 
the  DVD  industry  was  growing  quickly, 
handily  replacing  VHS.  As  recent  as  2003, 
revenues  from  home  entertainment  (the 
video  market)  were  significantly  higher 
than  from  theatrical  box-office  returns.  By 
mid-2003,  DVD  rentals  surpassed  VHS, 
pushing  studios  to  stop  creating  VHS  for- 
mats and  forcing  major  retail  stores  to  stop 
selling  or  to  cutback  on  VHS. 

Distribution  or  licensing  agreements 
that  acquire  a  complete  or  full  range  of 
rights  to  a  film  or  program  will  stipulate 
ever)'  form  of  media  imaginable  (by  way  of 
a  very,  very  long  list  that  only  lawyers  can 
get  away  with  writing)  and  should,  after 
that,  venture  to  include  media  that  doesn't 
exist  at  the  time  of  the  agreement.  May 
sound  like  overkill,  but  the  issue  of  "new  or 
future  technologies"  in  the  film  and  televi- 
sion industries  is  a  matter  that  is  consistent- 


ly litigated  by  major  studios  and  networks 
because  of  the  revenue  earning  potential  of 
exploiting  copyrighted  material. 

I  won't  spend  too  much  time  dis- 
cussing copyright,  other  than  to  say  that 
although  the  subject  can  be  a  bit  arcane 
(and  rather  dry  for  that  matter),  for  us 
law  geeks  it  is  a  thing  of  beauty,  particu- 
larly when  it  involves  film  industry  agree- 
ments such  as  distribution  and  licensing. 
For  now,  let's  remember  that  copyright 
grants  you  (the  owner  of  the  film)  five 
exclusive  rights  -the  right  to  reproduce, 
adapt,  distribute,  perform,  and  display 
the  film.  Meaning  you  can  permit  or  pre- 
vent others  from  exercising  those  rights. 
Transfer  of  rights  or  licensing,  are  nor- 
mally made  by  contract. 

How  far  do  the  rights  granted  in  an 
acquisition  agreement  or  copyright 
license  permit  a  film  company  to  go?  If 
there  is  an  agreement  or  license  granting 
all  rights  in  a  work  (a  script,  film,  pro- 
gram), then  there  is  no  issue.  Under  those 
terms,  the  copyright  owner  (the  screen- 
writer or  producer)  has  conveyed  that 
everything  he  or  she  retains  has  no  pres- 
ent or  future  use  (nothing).  Problems 
come  up  when,  for  example,  the  owner 
splits  the  rights,  in  other  words,  enters 
into  more  than  one  agreement  or  licens- 
ing arrangement  without  clearly  specify- 
ing the  media  covered  and  the  media 
retained,  particularly  future  technologies. 

Film  distributors  usually  want  a  full 
range  of  rights  (especially  if  there's  a  hefty 
advance  or  licensing  fee),  in  part  because 
the  more  rights  the  distributor  secures, 
the  more  opportunities  he  or  she  has  to 
potentially  recoup  and  profit  from 
exploitation  of  those  rights  for  the  speci- 
fied years  contracted.  In  addition  to  com- 
monly known  rights  such  as  television 
and  cable,  we  have  the  now  almost  anti- 
quated VHS,  the  not  so  new  DVD,  the 
relatively  new  and  not  as  lucrative  mar- 
kets such  as  VOD  (Video  On  Demand), 
micro  (or  mini)  movies  for  cell  phones, 
and  other  emerging  technologies.  For 
example,  a  complete  and  full  grant  of 
rights  (regardless  of  medium),  stipulating 
that  all  present  and  "future"  uses  are  cov- 
ered, could  stipulate: 

"The     Rights     granted     herein     by 


48  The  Independent  I  November  2005 


Production  Company  to  Distributor  include 
any  and  all  media,  whether  now  known  or 
hereafter  discovered  or  devised,  including 
without  limitations  Theatrical  motion  picture 
rights  (including  all  silent,  sound  dialogue, 
and  musical  motion  picture  rights);  Non- 
Theatrical  including  without  limitation,  air- 
lines and  ships  serviced  from  or  calling  any 
and  all  ports,  hotels  and  motels;  television 
including  without  limitation  Pay  TV,  Pay  Per 
View,  Video  On  Demand,  Basic  Cable,  and 
Free  TV;  Internet,  digital  or  online,  mobile 
phones,  multimedia  and  game  devices; 
DVD/Home  Video  Rights  in  all  forms  and 
formats  by  any  present  or  future  methods  or 
means,  whether  now  or  hereafter  known  or 
existing  [sort  of  like  "discovered  or  devised"], 
including  without  limitation,  videograms, 
videocassettes,  laserdiscs,  and  other  audio- 
visual compact  devices  of  any  kind  or  nature 
now  or  hereafter  existing;  and  any  and  all 
allied,  ancillary  and  subsidiary  rights." 

A  producer  who  wants  to  retain  certain 
rights,  including  new  and  unknown  uses, 
would  (i)  specifically  list  and  limit  the  rights 
granted  (theatrical,  non-theatrical,  cable,  free 
television)  and  (ii)  include  a  "Reservation  of 
Rights"  section  in  the  agreement,  specifically 
stipulating  what  rights  the  producer  is  keep- 
ing, including  a  future  technology  clause.  For 
example, 

Reservation  of  Rights:  "Any  and  all  other 
rights  (and  any  reproductions  or  derivative 
works  thereof),  whether  now  existing  or  which 
may  hereafter  come  into  existence,  not 
expressly  granted  to  Company  herein,  includ- 
ing, but  not  limited  to,  video  cassettes,  video 
discs,  laser  discs,  digital  versatile  discs  (DVD), 
or  other  devices,  whether  now  known  or  here- 
after discovered  or  devised,  print  publication, 
electronic  publication  in  all  media  and  in  all 
formats  other  than  those  addressed  herein,  are 
reserved  for  Producer." 

A  single  agreement  would  cover  both  a 
clearly  enumerated  "Grant  of  Rights"  and, 
where  applicable,  a  "Reservation  of  Rights," 
spelling  out  what  has  been  granted  and  what 
has  been  reserved,  including  new  or  future 
technologies.  With  the  development  and  rapid 
proliferation  of  new  media  for  exploitation  of 
film,  a  clear  stipulation  of  what  type  of  rights 
are  granted  and/or  reserved  is  more  important 
than  ever.    ~k 


For  more  info  please  visit  www.rwiff.com  or  call  (818)  749-6162 


POINT       OF       CONTACT       PRESENTS 

SYRACUSE  INTERNATIONAL 
FILM  &  VIDEO  FESTIVAL 


APRIL     6-9,      2006 


W&? 


Every  entry  will  be  pre-screened  in  its  entirety.  All  genres.  All  lengths.  Cash  awards. 
Post-festival  publication  with  critical  reviews.  International  jury. 

Submissions  accepted  through  December  10,  2005 

For  more  information,  and  to  fill  out  an  entry  form,  visit:  WWW.syrfilmfest.com 

The  Syracuse  International  Film  &  Video  Festival  is  a  member  ot  www.withoutabox.com 


November  2005  I  The  Independent  49 


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DOMESTIC 

ABSOLUTE  TIME  FILM  FESTIVAL.  March,  CA. 
Deadline:  Oct.  31;  Nov.  15  (final).  Festival 
focus  is  (but  not  limited  to)  films  written, 
produced  and/or  directed  by  under-repre- 
sented communities.  Mission  of  fest  is  to 
present  films  that  explore  cross-cultural 
communication.  Films  must  have  been 
produced  in  the  past  12  months.  Cats: 
feature,  short,  animation,  doc.  Awards: 
$200  jury  award  for  best  film.  Formats: 
1/2",  DVD,  Mini-DV.  Preview  on  VHS  or 
DVD.  Entry  Fee:  $20;  $35  (final).  Contact: 
San  Francisco  Stage  &  Film;  (415)401- 
9768;  sfstagefilm@yahoo.com; 

www.sfstagefilm.org. 

ANN  ARBOR  FILM  FESTIVAL  Mar  21-26,  Ml 
Deadline:  Sept.  1,  Nov.  1,  Dec.  1  (final). 
Fest  welcomes  all  cats  &  genres  of  inde- 
pendent filmmaking.  Founded:  1963. 
Cats:  any  style  or  genre,  feature,  doc, 
short,  animation,  experimental.  Awards: 
$18,000  in  cash  prizes  awarded.  Formats: 
16mm,  35mm,  DVD,  Beta  SR  Preview  on 
VHS,  DVD  or  16mm.  Entry  Fee:  $30;  $35; 
$40  (final).  Contact:  Festival;  (734)  995- 
5356;  fax:  995-5396;  mfo@aafilmfest.org; 
www.aafilmfest.org. 

ASPEN  SHORTSFEST,  April  5-9,  CO 
Deadline:  Nov.  4,  Dec.  14  (final).  Fest  is  a 
premiere  int'l  competitive  showcase  for 
short  films  (30  mins  &  less).  Fest  seeks 
entries  of  originality,  integrity  &  technical 
excellence.   Student  &  int'l  entries  also 


welcome.  Founded:  1992.  Cats:  short,  ani- 
mation, children,  doc,  student.  Awards: 
cash  prizes  total  $23,000.  Formats: 
35mm,  16mm,  Beta  SP,  70mm.  Preview 
on  VHS  or  DVD.  Entry  Fee:  $35,  $45,  $55 
(final).  Contact:  Ryan  Van  Bidder; 
(970)  925-6882;  fax:  925-1967;  shorts 
fest@aspenfilm.org;  www.aspenfilmorg. 

BARE  BONES  INT'L  INDEPENDENT  FILM 
FESTIVAL,  April  17-13,  OK.  Deadline:  Nov. 
1;  Dec.  31;  Jan. 26  (final).  Projects  budget- 
ed for  less  than  a  million  dollars  are  eligi- 
ble to  enter  the  fest.  Seven  days  of 
screenings,  workshops,  screenplay  read- 
ings, location  tour,  youth  film  projects. 
Cats:  feature,  doc,  short,  animation, 
experimental,  script,  music  video,  stu- 
dent, youth  media.  Awards:  Auteur  of  the 
Year;  Audience  Choice  Award;  Grand  Jury 
Awards.  Formats:  35mm,  16mm,  Most 
Video  formats.  Entry  Fee:  $20-$50. 
Contact:  Shiron  Butterfly  Ray;  (918)  616- 
1 335;  barebonesfilmfestival@yahoo.com; 
www.barebonesfilmfestival.com. 

BERLIN  &  BEYOND,  Jan  12-18,  CA 
Deadline:  Oct.  1.  This  test's  goal  is  "to 
present  rarely  seen  independent  films  that 
are  not  shown  at  film  fests  around  the  Bay 
Area  &  to  contribute  an  important  aspect 
of  European  filmmaking  to  the  Bay  Area's 
diverse  film  fest  scene."  Cats:  feature, 
doc,  short.  Awards:  Best  First  Feature; 
Audience  Award.  Formats:  35mm,  16mm. 
Preview  on  DVD  or  VHS.  Entry  Fee:  None 
-   also,    no   entry   form.    Contact:    Ingrid 


Eggers,    Goethe-lnstitut;    (415)263-8768; 
fax:    391-8715;    program@goethe-sf.org; 
www.goethe.de/uk/saf/bballgemem/bbfil 
mmaker.htm. 

BLACK  MARIA  FILM  FESTIVAL,  January- 
June,  NJ.  Deadline:  Nov.  20.  The  Black 
Maria  seeks  to  "identify,  exhibit  &  reward 
compelling  new  independent  media, 
reach  audiences  in  a  wide  variety  of  set- 
tings nationwide,  &  advocate  exceptional 
achievement  that  expands  the  expressive 
terrain  of  film  &  video."  Founded:  1980. 
Cats:  any  style  or  genre.  Awards:  Jurors' 
Choice  Works  (share  $2,500);  Jurors' 
Citation  Works  (share  $2,000);  Directors 
Choice  Works  (share  $1,000);  plus  win- 
ners share  $5,000+  in  exhibition  honorar- 
ia. Formats:  35mm,  16mm,  1/2",  super  8, 
DVD.  Preview  on  VHS.  Entry  Fee:  $35 
(shorts,  30  mm.  or  less);  $45  (features,  30- 
70  mm.).  Contact:  John  Columbus,  Fest 
Dir.;  (201)  200-2043;  fax:  200-3490;  black 
mariafest@aol.com;  www.blackmariafilm 
festival.com. 

BROOKLYN  INTERNATIONAL  FILM  FESTIVAL 

June  2-11,  NY.  Deadline:  Nov.  30;  March 
15  (Final).  In  the  effort  of  consolidating  its 
international  presence,  BIFF  has  been 
developing  solid  ties  with  major  overseas 
film  fests  and  distribution  companies  as 
well  as  successfully  pursuing  international 
sponsorship.  Founded:  1997.  Cats:  fea- 
ture, doc,  experimental,  short,  animation. 
Awards:  $65,000  in  services  and  cash. 
Formats:    35mm,    16mm,    Beta    SP,    DV, 


50  The  Independent  I  November  2005 


DVD,  CD-ROM,  DigiBeta,  HD  cam. 
Preview  on  DVD  or  VHS  (non-returnable). 
Entry  Fee:  $30;  $50  (final).  Contact:  Marco 
Ursino,  180  South  4th  St.,  Ste.  2  S„ 
Brooklyn,  NY  11211;  (718)  388-4306;  fax: 
599-5039;  2006@wbff.org;  www.wbff.org. 

CHICAGO  LATINO  FILM  FESTIVAL,  April  21 
May  3,  IL.  Deadline:  Nov  30.  Festival  pro- 
motes Latino  culture  in  the  U.S.  by  pre- 
senting the  best  &  most  recent  films  & 
videos  from  Spain,  Portugal,  Latin  America 
&  the  United  States.  Works  from  Latin 
America,  Spain,  Portugal  &  the  United 
States  are  considered  as  well  as  works 
from  other  countries  if  the  director  is  of 
Iberoamerican  descent,  or  the  subject 
matter  is  directly  related  to  Latino  culture. 
Preference  is  given  to  premieres,  although 
works  of  strong  historical  or  artistic  value 
are  often  showcased.  The  Festival  pres- 
ents all  forms  of  filmmaking  incl.  narrative, 
animation,  documentaries,  experimental, 
etc.  The  Fest  encourages  the  submission 
of  works  for  young  audiences  to  be  pre- 
sented during  matinees  for  students. 
Founded:  1987.  Cats:  Feature,  Short,  chil- 
dren, family,  student,  youth  media,  doc, 
animation,  experimental.  Awards: 
Audience  Award.  Formats:  35mm,  16mm, 
Beta  SP,  DVD.  Preview  on  VHS.  Entry  Fee: 
$25.  Contact:  Int'l  Latino  Cultural  Center 
of  Chicago;  (312)  431-1 330;  fax:  344-8030; 
info@latmoculturalcenter.org; 
www.latmoculturalcenter.org. 

CLEVELAND  INT'L  FILM  FESTIVAL,  March  16 
26,  OH.  Deadline:  Aug.  31 ;  Sept.  30;  Oct.  31 
(final).  Founded  in  1977,  the  Cleveland  Film 
Society  has  presented  the  Cleveland  Int'l 
Film  Festival  every  spring  for  nearly  three 
decades.  Ohio's  premier  film  event  features 
more  than  200  new  films  from  over  40  coun- 
tries on  six  continents.  Visiting  directors, 
panel  discussions,  student  screenings  &  a 
conference  for  area  filmmakers  are  all  CIFF 
highlights.  Founded:  1977.  Cats:  narrative, 
experimental,  animation,  doc,  feature,  short, 
student.  Awards:  $500  cash  prize  is  award- 
ed to  most  winners.  Formats:  35mm, 
16mm,  Beta  SP,  DigiBeta.  Preview  on  VHS 
or  DVD.  Entry  Fee:  $30-$85.  Contact 
William  Guentzler,  Director  of  Programming 
(216)  623-3456,ext.  11;  fax:  (216)  623-0103 
cfs@clevelandfilm.org;  www. Cleveland 
film.org. 


GEORGE  LINDSEY  UNA  FILM  FESTIVAL,March 

3-5,  AL.  Deadline:  Sept.  15;  Nov.  15;  Dec. 
1  (final).  Fest  sponsored  by  actor  George 
Lindsey  &  his  alma  mater,  the  University 
of  North  Alabama.  Screenings  of  accepted 
films  &  free  workshops  conducted  by 
industry  professionals  during  the  event. 
Works  completed  in  the  previous  three 
years  are  eligable.  Cats:  feature,  short, 
music  video,  student,  doc,  animation. 
Awards:  $1 ,000  cash  prize  for  both  Best  of 
Show  &  Sweet  Home  Alabama  Awards, 
along  w/  prizes  awarded  in  each  category. 
Preview  on  VHS.  Entry  Fee:  $10-35 
(Student);  $20-35.  Contact:  Festival;  (256) 
765-4592;  lmdseyfilmfest@una.edu; 

www.lindseyfilmfest.com. 

EAST  LANSING  CHILDRENS  FILM  FESTIVAL, 

Feb.  24-March  2,  Ml.  Deadline:  Nov.  14. 
This  Festival  is  dedicated  to  showcasing 
films  from  around  the  globe  that  enrich, 
inspire  &  entertain  children  w/out  violent 
or  exploitative  subject  matter.  Cats:  chil- 
dren. Preview  on  VHS  or  DVD.  Entry  Fee: 
None.  Contact:  ELCFF;  (517)  853-0502; 
info@elcff.com;  www.elcff.com. 

FLORIDA  FILM  FESTIVAL,  March  24  April  2, 
FL.  Deadline:  Nov.  18  (Shorts);  Dec.  3 
(Features).  Festival  boasts  many  industry 
celebrities  participating  &  contributing  to 
the  fest,  along  w/  a  wide  range  of 
American  &  Int'l  filmmakers.  Many  other 
events  incl.  parties  &  educational  forums 
are  included  in  the  fests  ten  day  line-up. 
51  percent  of  all  funding  must  come  from 
US  sources.  Founded:  1990.  Cats:  fea- 
ture, doc,  short.  Awards:  Grand  Jury 
Prize,  Audience  Award  Prize.  Formats: 
35mm,  DigiBeta,  Beta  SP,  DVD.  VHS  or 
DVD.  Entry  Fee:  $40  (features);  $25 
(shorts).  Contact:  Festival;  (407) 
644-5625;  www.filmfest@enzian.org; 
www.floridafilmfestival.com. 

FLORIDA  FILM  FESTIVAL,  March  24-Apnl  2, 
FL.  Deadline:  Nov.  18  (Shorts);  Dec.  3 
(Features).  Festival  boasts  many  industry 
celebrities  participating  &  contributing  to 
the  fest,  along  w/  a  wide  range  of 
American  &  Int'l  filmmakers.  Many  other 
events  incl.  parties  &  educational  forums 
are  included  in  the  fests  ten  day  line-up. 
51  percent  of  all  funding  must  come  from 
US  sources.   Founded:   1990.  Cats:  fea- 


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November  2005  I  The  Independent  51 


AIVF  presents:  [ M '  | 


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ture,  doc,  short.  Awards:  Grand  Jury  Prize, 
Audience  Award  Prize.  Formats:  35mm, 
DigiBeta,  Beta  SR  DVD.  VHS  or  DVD. 
Entry  Fee:  $40  (features);  $25  (shorts). 
Contact:  Festival;  (407)  644-5625;  film- 
fest@enzian.org;  www.floridafilmfesti- 
val.com. 

FULL  FRAME  DOC  FILM  FESTIVAL,  April  6-9, 
NC.  Deadline:  Oct.  15,  Nov.  15,  Dec.  15 
(final).  The  four  day  event  takes  place  at 
the  historic  Carolina  Theatre  in  downtown 
Durham,  North  Carolina,  w/  morning  to 
midnight  screenings,  panel  discussions, 
seminars,  Q&A  sessions.  Works  must 
have  been  completed  after  Jan.  of  previ- 
ous year.  Films  cannot  be  longer  than  180 
mm..  Cats:  doc.  Formats:  35mm,  16mm, 
Beta  SR  DigiBeta.  preview  on  VHS/DVD. 
Entry  Fee:  $35;  $45;  $55  (final).  Contact: 
Phoebe  Brush;  (919)  687-4100;  fax: 
687-4200;  phoebe@fullframefest.org; 
www.fullframefest.org. 

NASHVILLE  INDEPENDENT  FILM  FESTIVAL, 

April  20-26,  TN.  Deadline:  Sept.  9;  Nov.  4; 
Dec.  2.  Formerly  the  Sinking  Creek  Film  & 
Video  Festival,  fest  is  the  longest-running 
film  fest  in  the  South  w/  an  int'l  reputation 
for  its  support  &  encouragement  of  inde- 
pendent media.  Festival  programs  over 
150  films  &  provides  high-end  industry 
level  workshops.  Fest  incl.  workshops, 
panels,  screenings,  parties  &  closing 
awards  ceremony.  Founded:  1969.  Cats: 
animation,  doc,  feature,  student,  experi- 
mental, short,  youth  media,  children, 
music  video,  family.  Awards:  Cash  prizes 
awarded  for  all  cats  plus  a  special  award, 
The  Regal  Cinema/Nashville  Independent 
Film  Festival  Dreammaker  Award,  which 
grants  the  award-winning  film  a  week's 
run  in  a  Regal  Cinema  in  Los  Angeles 
county,  also  qualifies  the  winner  for 
Academy  Award  consideration.  1st  prize 
in  the  short  narrative,  student  short,ani- 
mation  cats  also  qualifies  winner  for 
Academy  Award  consideration..  Formats: 
35mm,  16mm,  Beta,  DigiBeta,  DVD. 
Preview  on  VHS  or  DVD.  Entry  Fee: 
$35/$40/$45  (under  60  mm.);  $50/$55/$60 
(over  60  mm.).  Contact:  Brian  Gordon; 
(615)  742-2500;  fax:  742-1004; 
mfo@nashvillefilmfestival.org; 
www.nashvillefilmfestival.org. 


NEW  YORK  UNDERGROUND  FILM  FESTIVAL, 

March  10-16,  NY.  Deadline:  Nov.  15;  Dec. 
1  (final).  NYC's  premiere  showcase  for 
films  that  go  beyond  mainstream  expecta- 
tions &  commercial  concerns.  VARIETY 
calls  the  fest  "the  outer  fringes  of  inde- 
pendent cinema."  Fest  seeks  "innovation, 
experimentation,  documentation,  anima- 
tion, revelation  &  reverberation"  &  "movies 
that  go  beyond  all  expectations,  incl. 
ours".  Founded:  1994.  Cats:  narrative  fea- 
ture, narrative  short,  doc,  experimental, 
animation,  ,  short,  feature.  Awards:  Juried 
prizes  for  Best  Feature,  Best  Short,  Best 
doc,  Best  Animation,  Best  Experimental, 
plus  the  Festival  Choice  award.  Formats: 
35mm,  16mm,  1/2",  super  8,  Beta,  mmi- 
DV  Preview  on  VHS/DVD.  Entry  Fee:  $30; 
$35.  Contact:  Kendra  Gaeta;  (212)  614- 
2775;  fax:  614-2776;  mfo@nyuff.com; 
www.nyuff.com. 

NEWPORT  BEACH  INT'L  FILM  FESTIVAL,  April 
20-30,  CA.  Deadline:  Nov.  1 5;  Jan.  1 5;  Jan. 
30  (final).  Approximately  75  feature  length 
&  25  short  films  chosen  to  compete  for 
one  of  10  awards.  If  preferred,  films  may 
be  excluded  from  competition  &/or  exhib- 
ited in  the  "special  screening"  section  of 
the  program.  All  films  must  have  optical 
(not  magnetic)  sound.  Films  must  be  in 
English  or  w/  English  subtitles.  Formats: 
70mm,  35mm,  16mm.  Preview  on  VHS. 
Entry  Fee:  $50  (feature);  $40  (short). 
Contact:  Joseph  Mahoney;  949-253-2880; 
fax:  949-253-2881;  mfo@newportbeach 
filmfest.com;  www.newportbeachfilm 
fest.com. 

RIVER  RUN  FILM  FESTIVAL,  March  16-19, 
NC.  Deadline:  Aug  2;  Oct  3;  Nov  28;  Dec 
15.  The  RiverRun  Int'l  Film  Festival  is  one 
of  the  premier  film  tests  in  the 
Southeastern  United  States.  Located  in 
Winston-Salem,  North  Carolina,  home  of 
the  nation's  first  arts  council,  the  fest 
showcases  a  rich  blend  of  works  by  inde- 
pendent, int'l  &  student  filmmakers.  The 
fest  was  created  as  a  forum  to  encourage 
filmmakers  &  provide  them  w/  suitable 
venues  for  their  work.  RiverRun  features  a 
number  of  fest  screenings  &  premieres, 
as  well  as  workshops  &  seminars  offering 
opportunities  "to  delve  deeper  into  the 
crafts  of  filmmaking".  Cats:  animation, 
feature,  doc,  short.  Awards:  Juried  &  audi- 


52  The  Independent  I  November  2005 


ence  awards.  Formats:  35mm,  16mm, 
1/2",  Beta,  DigiBeta.  On  VHS  or  DVD. 
Entry  Fee:  Shorts:  $20-$40  Feature:  $30- 
$45  .  Contact:  Julie  Freeman,  Director  of 
Operations/Programming;  (336)724-1 502; 
fax:  724-1112;  festival@riverrunfilm.com; 
www.riverrunfilm.com. 

ROCHESTER  INT'L  FILM  FESTIVAL,  May  4  6, 

NY.  Deadline:  Dec.  1;  Feb.  14  (final). 
Annnual  fest  is  the  longest-running  film 
event  dedicated  to  the  art  of  short  film  & 
video  (30  mm  max).  Award  winners 
screened  at  George  Eastman  House,  Int'l 
Museum  of  Photography  &  Film. 
Founded:  1959.  Cats:  any  style  or  genre, 
short,  No  music  videos  or  installations. 
Formats:  16mm,  1/2",  35mm,  DigiBeta, 
Beta  SP  Preview  on  VHS  or  DVD.  Entry 
Fee:  $30;  $40  (final).  Contact:  Movies  on  a 
Shoestring,  Inc;  (716)  234-7411; 
President@RochesterFilmFest.org; 
www.RochesterFilmFest.org. 

SAN  DIEGO  LATINO  FILM  FESTIVAL,  March  9 
19,  CA.  Deadline:  Nov.  30.  The  longest 
running  annual  Latino/Chicano  film  & 
video  fest  in  S.  CA.  Award-winning 
films/videos  from  throughout  the  US, 
Mexico,  Latin  America  have  been 
screened.  Fest  will  incl.  screenings 
throughout  San  Diego  &  Tijuana  communi- 
ty, discussions  w/ filmmakers  &  catalog  of 
all  work  screened.  SDLFF  has  used  the 
unique  geographical  &  cultural  position  of 
the  San  Diego  Border  Region  to  make  the 
fest  a  premiere  venue  for  the  exhibition  of 
int'l  &  U.S.  Latino  features,  shorts  &  doc- 
umentaries. Looking  for  works  by  Latinos 
&/or  about  the  Latino  experience.  Cats: 
feature,  doc,  short,  experimental,  student, 
youth  media.  Awards:  Best  in  each  cate- 
gory award;  Audience  Award.  Formats: 
35mm,  16mm,  Beta  SP,  Mini-DV,  S-VHS, 
1/2",  Beta,  DigiBeta,  Super  8,  70mm,  3/4", 
DVD.  Preview  on  VHS  or  DVD.  Entry  Fee: 
$15  (shorts);  $25  (Features).  Contact: 
Ethan  van  Thillo,  c/o  Media  Arts  Center 
San  Diego;  (619)  230-1938;  fax:  230-1937; 
sdlff@mediaartscenter.org;  www.sdlati 
nofilm.com. 

SAN  FRANCISCO  INT'L  FILM  FESTIVAL,  April 
20-May  4,  CA.  Deadline:  Nov.  11;  Dec.  9. 
Founded  in  1957  &  the  oldest  film  fest  in 
america,  SFIFF  is  presented  each  spring 


by  the  San  Francisco  Film  Society  show- 
casing approx.  200  features,  docs  & 
shorts;  fest  is  dedicated  to  highlighting 
current  trends  in  int'l  film  &  video,  w/an 
emphasis  on  work  w/out  US  distrib.  Fest 
has  two  sections:  the  invitational,  non- 
competitive section  for  recent  features, 
archival  presentations,  retros  &  special 
awards  &  tributes  recognizing  individual 
acheivement;  &  the  competitive  section 
for  doc,  shorts,  animation,  experimental  & 
TV.  Founded:  1957.  Cats:  feature,  doc, 
short,  animation,  experimental,  music 
video,  student,  youth  media,  TV,  any  style 
or  genre.  Awards:  incl.  Golden  Gate 
Awards  (14  awards  &  cash  prizes  totaling 
$21,500);  features  also  eligible  for  the 
FIPRESCI  prize;  Audience  Awards. 
Formats:  35mm,  16mm,  3/4",  Beta  SP, 
70mm.  Preview  on  VHS  or  DVD.  Entry 
Fee:  $15-200(depending  on  category  of 
film  or  video).  Contact:  Programming 
Dept.;  (415)  561-5022;  fax:  561-5099;  pro 
gramming@sffs.org;  www.sffs.org. 

SANTA  BARBARA  INT'L  FILM  FESTIVAL,  Feb 

3-12,  CA.  Deadline:  Aug.  12;  Sept.  30;  Nov 
4;  Nov.  18  (final).  Fest  is  "dedicated  to 
enriching  local  culture  &  raising  con- 
sciousness of  film  as  an  art  form".  It  pres- 
ents American  Independent,  Spanish  & 
Latin  American,  European,  World  &  Doc 
cinema.  In  addition  to  film  exhibition  & 
celebrity  tributes,  fest  has  produced  panel 
discussions,  covering  aspects  of  filmmak- 
ing, from  the  craft  to  the  business  plus 
education  through  the  10-10-10  Film 
Competition  &  Kids  Fest.  Founded:  1986. 
Cats:  feature,  doc,  short,  student,  anima- 
tion. Awards:  Jury  Awards  &  Cash  Prizes. 
Formats:  35mm,  16mm,  DigiBeta,  Beta 
SP,  DVD,  HD.  Preview  on  VHS  or  DVD. 
Entry  Fee:  $30/$35  (Early:  shorts/ 
features);  $55/$60  (Final:  shorts/features) 
check  website  for  other  fees.  Contact 
Programming;  (805)  963-0023;  fax 
962-2524;  info@sbfilmfestival.org 

www.sbfilmfestival.org. 

TRIBECA  FILM  FESTIVAL,  April  25  May  7, 
NY.  Deadline:  Nov.  4;  Dec.  9  (final,  shorts); 
Dec.  16  (final,  features).  Created  by  Jane 
Rosenthal  &  Robert  De  Niro,  the  mission 
of  the  fest  is  to  "enable  the  int'l  film  com- 
munity &  the  general  public  to  experience 
the  power  of  film  by  redefining  the  film 


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November  2005  I  The  Independent  53 


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test  experience".  Fest  was  founded  to 
celebrate  NYC  as  a  major  filmmaking  cen- 
ter &  to  contribute  to  the  long-term  recov- 
ery of  lower  Manhattan.  Cats:  feature, 
doc,  short,  animation,  experimental,  stu- 
dent. Formats:  35mm,  16mm,  HD  Cam. 
Preview  on  VHS,  DVD.  Contact:  Festival; 
(212)  941-2304;  entnes@tnbecafilmfesti 
val.org;  www.tribecafilmfestival.org. 

TRUE  /  FALSE  FILM  FESTIVAL,  Feb  24-26; 
April  21-23,  MO.  Deadline:  Sept.  30;  Oct. 
30;  Nov.  30  (final).  The  fest  welcomes 
documentaries  &  work  that  crosses 
boundaries  between  fact  &  fiction. 
Festival  pays  for  all  travel  expenses  of 
invited  filmmakers.  Cats:  doc.  Formats: 
35mm,  16mm,  DV  cam,  DV,  mini-DV. 
Preview  on  VHS  or  DVD.  Entry  Fee:  $20; 
$25;  $30  (final).  Contact:  Festival; 
(573)443-TRUE;  fax:  443-4884;  mfo@true 
false.org;  www.truefalse.org. 

U.S.  COMEDY  ARTS  FESTIVAL,  Feb  9-13, 
CO.  Deadline:  Nov.  5.  Festival  is  the  annu- 
al HBO-sponsored  event  held  in  Aspen, 
Colorado  that  features  the  best  comedic 
film,  theater,  standup,  &  sketch  to  an 
industry-heavy  audience.  Approximately 
25  features  &  25  shorts  are  selected  from 
over  800  submissions.  Shorts  must  be 
under  60  mm..  Cats:  Feature,  short. 
Formats:  35mm,  Video.  Preview  on  VHS 
or  DVD.  Entry  Fee:  None.  Contact:  Attn: 
Film  Program;  (310)  382-3595;  fax: 
382-3445;  kevin.haasarud@hbo.com; 
www.hbocomedyfestival.com. 

VC  FILMFEST:  LOS  ANGELES  ASIAN  PACIFIC 
FILM  FESTIVAL, Visual  Communications  Los 
Angeles  Asian  Pacific  Film  &  Video 
Festival,  May  4-11,  CA.  Deadline:  Nov.  14; 
Dec.  16  (final).  Visual  Communications, 
the  nation's  premier  Asian  Pacific 
American  media  arts  center,  established 
Fest  as  a  vehicle  to  promote  Asian  & 
Asian  Pacific  American  cinema.  The  Fest 
has  grown  from  its  beginnings  as  a  week- 
end series  into  an  annual  showcase  pre- 
senting the  best  of  Asian  Pacific  American 
&  Asian  int'l  media  in  the  United  States. 
VC  Filmfest  will  incl.  the  latest  new  works 
by  established  &  emerging  filmmakers  & 
video  artists;  feature  length  productions 
showcasing  the  talents  of  Asian  American 
acting  &  producing  talents;  new  work  by 


Asian  int'l  artists;  &  filmmaking  seminars, 
panel  discussions  &  symposiums  on  top- 
ics relevant  to  Asian  American  Cinema. 
Founded:  1983.  Cats:  feature,  doc,  short, 
animation/graphic  films,  experimental,  1- 
Channel  Videoworks  (all  genres).  Awards: 
Golden  Reel  &  Linda  Mabalot  New 
Directors/New  Visions  Awards;  Audience 
Awards  for  best  feature  &  documentary. 
Formats:  16mm,  35mm,  8mm,  Beta  SP 
Preview  on  VHS.  Entry  Fee:  $20;  $35 
(final).  Contact:  Festival  Director; 
(213)680-4462;  fax:  687-4848;  info@vcon 
line.org;  www.vconline.org. 

WORLDFEST  HOUSTON  INT'L  FILM  &  VIDEO 
FESTIVAL,  April  22-May  1,  TX.  Deadline: 
Nov.  15;  Dec.  15;  Jan.  15  (final). 
WorldFest  has  reduced  the  number  of 
films  screened  to  a  maximum  of  60  fea- 
ture &  100  short  premieres,  w/  a  total  & 
absolute  emphasis  on  American  &  Int'l 
Independent  feature  films.  Fest  honors 
films  from  Mexico,  Canada,  France  & 
Germany.  Associated  market  for  features, 
shorts,  documetanes,  video,  independ- 
ent/experimental &  TV.  Fest  also  offers  3- 
day  seminars  on  writing,  producing  & 
directing,  plus  distribution  &  finance. 
Founded:  1961.  Cats:  feature,  doc,  short, 
script,  experimental,  animation,  music 
video,  student,  youth  media,  TV,  children, 
family.  Awards:  Student  Awards  Program. 
Scripts  &  screenplays  also  have  competi- 
tion. Cash,  services  &  equipment  awards. 
Formats:  35mm,  16mm,  3/4",  1/2",  Beta 
SP  S-VHS,  DigiBeta,  U-matic,  DVD,  CD- 
ROM,  Web.  Preview  on  VHS.  Entry  Fee: 
$40-$90.  Contact:  Team  Worldfest,  Entry 
Director;  (713)  965-9955;  fax:  (713)  965- 
9960;  mail@worldfest.org;  www.world 
fest.org. 

INTERNATIONAL 

ANIMA  (BRUSSELS  INT'L  FESTIVAL  OF 
CARTOONS  &  ANIMATED  FILMS),   Feb    24- 

March  5,  Belgium.  Deadline:  Nov.  1.  Since 
1982,  fest  has  been  showcase  for  new, 
interesting  works  in  animation,  providing 
opp.  to  be  seen  by  Belgian  film  &  TV  dis- 
tribs.  While  noncompetitive,  it  is  one  of 
top  8  European  animation  fests  involved  in 
nominating  films  that  compete  for  Cartoon 
d'Or.  Close  to  34,000  spectators  attend 
hundreds   of   film    premieres,    retros   & 


54  The  Independent  I  November  2005 


programs  &  short  ind.  animation  are  some 
test  highlights.    Founded:  1982.  Cats:  ani- 
mation,   short,   children,   feature,   experi- 
mental,   music   video,    student.    Awards: 
Beligian  competition  for  best  short  ani- 
mated film.  Formats:  35mm,  16mm,  Beta 
SR  70mm,  DVD.  Preview  on  DVD,  VHS  or 
Beta    SP.    Entry    Fee:    None.    Contact 
Francoise  Catahala;   011    322   534  4125 
fax:   322   534   2279;    info@folioscope.be 
www.awn.com/folioscope. 

CINEMA  DU  REEL,  March  10-19,  France 
Deadline:  Nov.  30;  Dec.  31.  Int'l  fest  of 
visual  anthropology  &  social  documenta- 
tion, was  set  up  in  1979  w/  aim  of  pro- 
moting documentary  cinema. Fest  is  held 
at  the  George  Pompidou  Centre  in  Paris  & 
followed  by  Overview  of  Ethnographic 
Films,  held  at  the  Musee  de  I'Homme. 
Films  &  videos  not  released  theatrically  in 
France  or  aired  on  French  TV,  &  unaward- 
ed  at  other  French  int'l  fests  are  eligible. 
Works  w/  cinematographic  qualities  & 
emphasizing  filmmaker's  point  of  view 
likely  for  selection;  mfoal  docs  or  news 
reports  not  considered.  Films  must  have 
been  completed  after  Jan.  of  previous 
year.  Cats:  docs  only.  Awards:  Awards, 
decided  by  int'l  jury,  mcl  Grand  Prix  (8,000 
euro,  approx  $8,000),  short  film  prize 
(2,500  euro),  Jons  Ivens  Prize  to  young 
filmmaker  (2,500  euro)  &  Multimedia 
Author's  Society  (SCAM)  Prize  (4,580 
euro).  Jury  of  librarians  &  professionals 
award  the  Libraries  Prize  (6,000  euro  for 
films  w/  French  version  or  French  subti- 
tles) w/in  int'l  competitive  section  or 
French  Panorama  &  Foreign  Affairs 
Ministry  awards,  Louis  Marcorelles  Prize. 
Formats:  35mm,  16mm,  Beta.  Preview  on 
VHS.  Entry  Fee:  None.  Contact:  Suzette 
Glenadel,  Director;  01 1  33  1  44  78  44  21 ; 
fax:  78  12  24;  cinereel@bpi.fr;  www.bpi.fr. 

G0TEB0RG  FILM  FESTIVAL,  Jan  27-Feb  6, 
Sweden.  Deadline:  November  15. 
Goteborg  Film  Festival  is  the  biggest  pub- 
lic film  fest  in  Scandinavia.  Each  year, 
some  400  films  are  screened  for  1 10,000 
visitors.  Additionally,  some  60  film  related 
seminars  attract  roughly  5,000  visitors. 
The  fest  is  run  as  a  non-profit  organization 
w/  support  from,  among  others,  the  city  of 
Goteborg,    the    Swedish    Film    Institute, 


Vastra  Gbtalandsregionen,  the  Nordic  Film 
&  TV  Fund  &  Scandinavian  Films.  Fest's 
aim  is  to  give  the  audience  an  opportunity 
to  see  films  reflecting  the  current  state  of 
world  cinema  outside  conventional  distri- 
bution forms  &  to  widen  cinema  reper- 
toire. Founded:  1979.  Cats:  Feature, 
Short,  doc,  animation.  Formats:  8mm, 
16mm,  35mm,  Beta  SP  (PAL),  DigiBeta, 
Beta  SP.  Preview  on  VHS.  Entry  Fee:  $25 
Euros.  Contact:  Jannike  Ahlund,  Festival 
Director ;  +46  31  339  3000;  fax:  01 1  46  31 
41  00  63;  info@filmfestival.org; 
www.goteborg.filmfestival.org. 

INT'L  FILM  FESTIVAL  DORTMUND,  April  12- 
17,  Germany.  Deadline:  Nov.  30. 
Founded:  1987.  Cats:  Any  style  or  genre, 
feature,  doc,  short.  Awards:  non-competi- 
tive. Formats:  All  formats  accepted, 
35mm,  16mm,  S-VHS,  Beta,  Beta  SP, 
DigiBeta,  U-matic.  Preview  on  VHS.  Entry 
Fee:  None.  Contact:  femme  totale  e.V, 
c/o  Kulturburo  Stadt  Dortmund;  011  49 
231  50  25  162;  fax:  01 1  49  231  50  25  734; 
info@femmetotale.de;  www.femmeto- 
tale.de. 

MAX  0PHULS  FILM  FESTIVAL,  Jan    23-29, 

Germany.  Deadline:  Nov.  1.  Estab  in  1980, 
compet  fest  is  particularly  for  young  dirs 
from  German  speaking  countries 
(Switzerland,  Austria,  Luxembourg  & 
Germany)  who  may  enter  up  3  films. 
Features  accepted  for  competition;  fest 
also  accepts  shorts,  docs,  &  exp  works. 
Formats:  16mm,  35mm.  Preview  on  VHS. 
Entry  Fee:  US  $  none.  Contact:  Chnstel 
Drawer,  director;  0681  90689  0;  fax:  0681 
90689  20;  info@max-ophuels-preis.de; 
www.max-ophuels-preis.de 

ONE  WORLD  INT'L  HUMAN  RIGHTS  FILM 
FESTIVAL,  March  2-9,  Czech  Republic. 
Deadline:  Nov.  30.  Festival  features  docu- 
mentaries that  "explore,  question,  &  chal- 
lenge the  complexities  of  the  times  in 
which  we  live  in."  Cats:  doc.  Formats: 
35mm,  16mm,  Video,  DVD,  Beta  SP,  DV- 
Cam.  Entry  Fee:  None.  Contact:  One 
World  Festival/  People  in  Need 
Foundation;  42  0  226  200  439;  pro- 
gram@oneworld.cz;  www.oneworld.cz. 


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November  2005  I  The  Independent    55 


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BUY  I  RENT  I  SELL 

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THE  CINEMA  GUILD,  leading  film/video/mul- 
timedia distributor,  seeks  new  doc,  fiction, 
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tribution. Send  videocassettes  or  discs  for 
evaluation  to:  The  Cinema  Guild,  130 
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film,  generate  publicity  &  reviews,  sell 
your  film  to  video  &  television,  festival 
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FREELANCE 

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more.  Call  for  reel:  Tom  Agnello  (201) 
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ACCOUNTANT/BOOKKEEPER/CONTROLLER: 

Experience  in  both  corporate  &  nonprofit 
sectors.  Hold  MBA  in  Marketing  & 
Accounting.  Freelance  work  sought.  Sam 
Sagenkahn  (917)  374-2464. 

ARE  YOU  STUCK?  Fernanda  Rossi,  script  & 
documentary  doctor,  specializes  in  narra- 


56  The  Independent  I  November  2005 


tive  structure  in  all  stages  of  the  film- 
making process,  including  story  develop- 
ment, fundraising  trailers  and  post-pro- 
duction. She  has  doctored  over  30  films 
and  is  the  author  of  "Trailer  Mechanics." 
For  private  consultations  and  workshops 
visit  www.documentarydoctor.com  or 
write  to  info@documentarydoctor.com. 

COMPOSER  MIRIAM  CUTLER  loves  to  col- 
laborate -  docs,  features.  Lost  In  La 
Mancha/IFC,  Scout's  Honor,  Licensed  To 
Kill,  Pandemic:  Facing  Aids/HBO,  Indian 
Point/HBO,  Positively  Naked/HBO, 
Stolen  Childhoodsa,  Amy's  0  &  more. 
(310)  398-5985  mir.cut@verizon.net. 
www.minam  cutler.com. 

COMPOSER:  Original  music  for  your  film 
or  video  project.  Will  work  with  any 
budget.  Complete  digital  studio.  NYC 
area.  Demo  CD  upon  request.  Call  Ian 
O'Brien:  (201)  222-2638;  iobnen@bellat- 
lantic.net. 

DP  WITH  ARRI  SR  SUPER  16/16MM   and 

35BL-2  camera  packages.  Expert  lighting 
and  camerawork  for  independent  films, 
music  videos,  etc.  Superb  results  on  a 
short  schedule  and  low  budget.  Great 
prices.  Willing  to  travel.  Matthew  617- 
244-6730. 

FREELANCE  CAMERA  GROUP  IN  NYC  seek- 
ing professional  cameramen  and  sound- 
men w/  solid  Betacam  experience  to 
work  w/  wide  array  of  clients.  If  quali- 
fied, contact  COA  at  (212)  505-1911. 
Must  have  documentary/news  samples 
or  reel. 

FUNDRAISING/GRANTWRITING/PROJECT 
DEVELOPMENT:  Research,  writing  &  strat- 
egy for  production,  distribution,  exhibi- 
tion &  educational  media  Successful 
proposals  to  NYSCA,  NEA,  Sundance, 
ITVS,  Rockefeller  Foundation,  Robeson 
Foundation.  Fast  writers,  reasonable 
rates.  Wanda  Bershen,  (212)  598-0224; 
ww.reddiaper.com. 

LOCATION  SOUND:  Over  25  yrs  sound 
exp.  w/  timecode  Nagra  &  DAT,  quality 
mics  &  mixers.  Reduced  rates  for  low- 
budget  projects.  Harvey  &  Fred 
Edwards,    (518)    677-5720;    (819)    459- 


2680;  edfilms@world  net.att.net; 
www.edwardsfilms.com. 

STORYBOARDS  make  complicated  scenes 
clear.  Kathryn  Roake  has  drawn  over  15 
films  and  is  the  winner  of  a  New  Line 
Cinema  grant,  another,  the  winner  of  an 
HBO  grant.  I  work  on  union  and  non  union 
films.  Kathryn  718-788-2755. 

OPPORTUNITIES  I  GIGS 

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video  business  in  Legal,  Wedding, 
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versity.com/50web.html. 

CAREER  AND  SCRIPT  CONSULTANT  Emmy 
nominated  Ellen  Sandler  (Co-Executive 
Producer  "Everybody  Loves  Raymond") 
can  help  anyone  avoid  costly,  time  con- 
suming pitfalls  and  dead  ends  in  the 
Hollywood  game.  She  works  one  on  one 
with  you  on  pitching  skills,  script  re- 
writes, career  strategies,  including  net- 
working and  relocating  to  Los  Angeles. 
Her  approach  follows  specific  guidelines 
and  proven  techniques,  but  is  always  cus- 
tomized to  the  specific  needs,  strengths 
and  budget  of  each  client.  Email: 
elsand@comcast.net  for  more  information 
and  to  request  a  sample  consultation  at  no 
charge. 

FULL-TIME,  TENURE  TRACK  TEACHING  POSI- 
TION  FOR   INDEPENDENT   FILMMAKER    at 

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making with  narrative  film  emphasis  plus 
interest  in  integrating  with  theatre  and 
dance.  Contact  immediately!  sel1@hum- 
boldt.edu.  Tel:  707-826-5496  Fax:  707- 
826-5494. 

LAB  TECHNICAL  ASSISTANT.  Provide  part- 
time  technical  support  for  one  of  the  most 
extensive  private  high  school  film/video 
programs  in  the  U.S.,  including  3  levels  of 
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history  and  screenwriting.  Work  with 
Emmy  Award-winning  writer-producer,  as 
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November  2005  I  The  Independent  57 


AN    U  S0BSP0   NTERNATONA 


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March  7th  -  12th,  2006 

CALL  FOR 
ENTRIES 

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including  Super  8,  16mm,  SVHS,  DV, 
audio  recording  and  mixing,  and  non-linear 
video  editing  systems  (Final  Cut  Pro  and 
Avid  Xpress  DV).  Ideal  position  for  recent 
film  school  graduate  or  free-lance  profes- 
sional who  likes  working  with  bright,  moti- 
vated high  school  kids.  Begins  August  15, 
2003  and  runs  through  June  15,  2004, 
two  weeks  off  during  Winter  and  Spring 
breaks.  Est.  hours  per  week:  20  (flexible 
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Compensation:  $15,000  with  benefits 
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letter  detailing  your  film/video  experience 
to  marc_fields@concordacademy.org  or 
mail  to:  Marc  Fields,  Concord 
Academy,  166  Main  Street.Concord,  MA 
01742. 

NEW  EDUCATIONAL  DISTRIBUTOR  looking 
for  non-fiction  films  for  non-exclusive  dis- 
tribution. Have  you  produced  a  film  deal- 
ing with  the  delicate  mix  of  religion, 
ethics,  and  public  policy?  Please  send  a 
DVD  plus  100  word  synopsis  to  Vital 
Visuals  Educational  Media,  16  Brewster 
Ln.,  Oak  Ridge,  TN  37830.  Email: 
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PREPRODUCTION  I 
DEVELOPMENT 

GET  YOUR  SCREENPLAY  READY  FOR  PRODUC- 
TION! Former  Miramax  story  analyst, 
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(Hyperion,  August  2002),  will  analyze  your 
screenplay  and  write  you  constructive  in- 
depth  studio  style  notes.  I  will  go  right  to 
the  heart  of  what  works  in  your  script  and 
what  needs  improvement  as  well  as  offer- 
ing suggestions  about  HOW  to  fix  it.  Trust 
me,  I'm  not  looking  for  "formulas."  Every 
screenplay  is  different.  Since  I'm  an  inde- 
pendent filmmaker,  I  specialize  in  helping 
filmmakers  get  their  scripts  ready  for 
shooting.  Face  it.  You're  going  to  spend  a 
lot  of  money  to  make  your  film.  Spend  a 
little  up  front  to  make  sure  your  script 
works.  It's  the  ONLY  way  to  pull  off  a  low 
budget  film  effectively!  It  will  cost  you 
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AFTER  the  production  begins.  Reasonable 


rates,  references.  Michael  Tierno,  mtier 
no@nyc.rr.com. 

POSTPRODUCTION 

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on  your  Doc  or  Film.  Well  Credited  and 
experienced.  Visit  website  for  Credit  List. 
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BR0DSKY  &  TREADWAY:  film-to-tape  transfers, 
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visitors  per  month  and  5,200  email  newslet- 
ter subscribers  ~  join  the  indie  crusade  at 
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58    The  Independent  I  November  2005 


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COMPETITIONS 

HOLLYWOOD  GATEWAY  SCREENWRITING 
CONTEST:  The  mission  of  the  Hollywood 
Gateway  Screenwriting  Contest  is  to  guide 
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opportunity,  mentoring  and  unparalleled 
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$5,000  Cash  prize  and  an  initial  12-month 
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prizes.  Early  Entries  February  28th,  2005  - 
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Contest  Deadline  April  30th,  2005  -  Entry 
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-  Entry  Cost  $50.00.  Type  of  Material: 
Screenplays  80-140  pages.  International 
entries  written  in  English  are  welcome.  For 
more  information  go  to  www.holly 
woodgateway.com/details.php 

CONFERENCES  WORKSHOPS 

THE  SHOWBIZ  EXPO  will  be  a  focused 
business-to-business  event  catering  to  the 
working  practitioner  in  television  and  film. 
Conference  sessions  cover  the  most 
pressing  issues  in  content  creation,  pro- 
duction, post-production  and  distribution. 
ShowBiz  Expo  features  the  latest  products, 


technologies  and  services  for  professionals 
in  filmmaking,  television,  commercials, 
special  effects,  content  distribution  and 
new  media.  The  exhibits,  events  and 
advanced  educational  content  will  focus  on 
the  evolving  workflow  process  from  pro- 
duction to  post-production  to  the  digital  dis- 
tribution of  entertainment  content.  The 
event  will  tale  place  at  the  Barker  Hangar  at 
Santa  Monica  Air  Center.  For  more  infor- 
mation, visit  www.showbizexpo.com. 

RESOURCES  / FUNDS 

THE  PACIFIC  PIONEER  FUND  supports  emerg 
ing  documentary  filmmakers-Limited  to 
organizations  anywhere  in  the  US,  certified 
by  the  IRS  as  "public  charities",  which 
undertake  to  supervise  any  project  for 
which  individuals  receive  funds,  and  to  con- 
trol the  selection  of  individual  recipients  of 
funds.  The  fund  does  not  provide  support 
for  endowments,  building  campaigns, 
accumulated  deficits,  or  ordinary  operating 
budgets,  or  make  grants  to  individuals.  The 
fund  does  not  support  instructional  or  per- 
formance documentaries  or  student  film 
projects.  Grants  are  limited  to  filmmakers 
or  videographers  who  live  and  work  in 
California,     Oregon     and     Washington. 


Approximately  $1,100,000.  Applications 
are  accepted  on  an  ongoing  basis. 
Application  deadlines  in  2005-06  are  1/2/06 
and  5/1/06.  Print  out  an  application  from  the 
web  site  [www.pacificpioneerfund.com/] 
and  send  it ,  along  with  a  VHS  tape  of  up  to 
1 0  minutes  of  edited  footage  from  the  proj- 
ect for  which  support  is  sought,  to  P.O.  Box 
20504,  Stanford,  CA  94309.  If  you  have 
questions,  email  Armin  Rosencranz: 
armm@stanford.edu.  For  urgent  ques- 
tions, phone  650-996-3122. 

NYSCA  Electronic  Media  and  Film  Grants 
2006  -  Funding  is  available  from  New  York 
State  Council  on  the  Arts,  coordinated 
through  IFP,  to  support  the  distribution  of 
recently  completed  work  by  independent 
media  artists  residing  in  New  York  State. 
Grants  are  given  for  audio/radio,  film  and 
video  productions,  computer-based  work, 
and  installations  incorporating  these  media. 
Artists  may  request  funding  up  to  a  maxi- 
mum amount  of  $5,000,  though  grants 
awarded  are  generally  lower.  The  work  pro- 
posed for  support  must  have  been  com- 
pleted between  January  1,  2005  and 
November  30,  2005.  Deadline  for  submis- 
sion is  December  16,  2005.  For  guidelines 
and       online       application,        go       to 


November  2005  I  The  Independent     59 


37th  Nashville  Film  Festival 
April  20-26,  2006 


The  mid-South's  most  international  film  festival.  Academy  Award'  qualifying 
Festival  for  Short  Narrative  and  Animation. 

"One  of  the  best  programmed  competitive  festivals  in  one  of  the  most  surprising 
cities  in  the  U.S."  —Nancy  Gerstman,  Co-President,  Zeitgeist  Films 


Features,  documentaries,  shorts  and  animation  now  being 

accepted.  Final  deadline:  December  2,  2005 

Enter  through  withoutabox.com  or  go  to  www.nashvillefilmfestival.org 

(615)  742-2500  -  info@nashvillefilmfestival.org 


NEW  DAY  FILMS  is  the  premiere  distribution 
company  for  social  issue  media  owned  and 
managed  by  filmmakers.  We  have  distributed 
documentary  film  and  video  for  over  30  years 
to  non-theatrical  markets.  With  a  strong  com- 
mitment to  diversity  within  our  membership 
and  the  content  of  the  media  we  represent, 
we  welcome  your  interest! 

www.newday.com  •  join@newday.com 


Or  call  Heidi  Emberling  650.347.5123 


Seeking  energetic 
independent  makers 
)f  social  issue 
dcumentaries  for 
ew  membership. 


AFI/Discovery  Channel  Documentary  Festival 


DOCS 


Documentary  Features  and  Shorts 


Now  Playing 


JUNE    13-18  II  2006 


;«4:4M1VIh3 


www.ifp.org/nysca  or  email  nysca 
grant@ifp.org. 

UNIVERSITY  FILM  AND  VIDEO  ASSOCIATION 

announces  the  December  1 5th  deadline  for 
applications  for  the  Carole  Fielding  Student 
Grants.  This  annual  competition  awards  up 
to  $5,000  for  production  and/or  research 
proposals  by  students  enrolled  in  film  and 
television  schools.  Eligibility  guidelines  and 
an  application  are  available  at  the  UFVA 
website  (www.ufva.org). 

MICROCINEMAS  SCREENINGS 

FILM  AND  VIDEO  825  -  Series  of  bi-monthly 
screenings  of  locally,  nationally  and  interna- 
tionally recognized  film  and  video  artists' 
work,  providing  a  forum  for  presenting 
experimental  film  and  video  in  Los  Angeles. 
In  a  city  dominated  by  Hollywood,  venues 
such  as  ours  become  a  necessity  for  artists 
working  in  time-based  media  that  is  outside 
the  mainstream  of  narrative  cinema.  Our 
curatorial  vision  is  open  to  both  shorts  and 
features  in  experimental,  performance,  ani- 
mation, and  documentary  forms. 
FilmA/ideo  825,  Gallery  825/LAAA,  825  N. 
La  Cienega  Blvd.,  Los  Angeles,  CA  90069, 
T:  (310)  652-8272,  F:  (310)  652-9251, 
gallery825@laaa.org  ,  www.laaa.org/calen 
dar/film_video.html. 

SQUEAKY  WHEEL'S  long-running  free  open 
screening  is  one  of  our  most  popular  pro- 
grams: second  Wednesday  of  Every  Month 
8pm!  Free!  Filmmakers,  video/sound/digi- 
tal  artists,  community  documentarians,  and 
students  of  all  ages  are  welcome  to  bring 
short  works  for  insightful  critique.  The  open 
screening  is  perfect  for  newly  created 
works  or  works  in  progress.  Bring  works 
less  than  15  minutes.  Call  ahead  to  screen 
a  longer  work.  We  created  some  new  mini- 
themes  (you  don't  have  to  make  work  on 
the  theme,  but  if  it  inspires  you,  go  ahead) 
to  get  more  people  in  the  door!  Formats 
accepted:  Super  8,  16mm,  video  (mini-dv, 
svhs,  vhs),  cassettes,  cds,  Mac  compatible 
cd-rom.  Please  visit  www.squeaky.org/ 
opportunities. html#ongoing  for  more  infor- 
mation. 


60  The  Independent  I  November  2005 


BROADCAST  CABLECAST 

AXLEGREASE  PUBLIC  ACCESS  CABLE  SHOW: 

Tuesdays  at  2:00  PM  on  Channel  20 
Become  part  of  current  media  making  his- 
tory and  submit  your  media  work  to  be 
shown  on  TV,  on  our  legendary  public 
access  cable  show.  Commercial  free, 
100%  media  art  TV.  Provide  us  with  mini- 
dv,  vhs,  svhs,  or  8mm  video  (ntsc)  tapes 
with  a  running  time  of  28  min.  or  less.  Your 
work  may  also  be  displayed  in  our  store- 
front window.  Your  entry  will  become  a  part 
of  our  Member  Viewing  Library  unless  you 
include  an  SASE.  Axlegrease  is  open  to 
local  and  international  artists.  Send  tapes 
Attention:  Axlegrease.  Formats  accepted: 
mini-dv,  s-vhs,  vhs  or  dvd.  Please  visit 
www.squeaky.org/opportunities.  html#ong 
oing  for  more  information. 

THE  DOCUMENTARY  CHANNEL  is  a  new  digi- 
tal cable  channel  dedicated  to  airing,  exclu- 
sively, the  works  of  the  independent  docu- 
mentary filmmaker.  There  isn't  a  single 
type  of  documentary  that  they  will  not 
show,  and  they  are  not  afraid  of  controver- 
sy. That  said,  they  prefer  the  edgier,  more 
personal  films  that  tell  a  story  and  that 
show  something  in  a  unique,  visual  man- 
ner.   See    the    website    for    submission 


instructions.  Submissions  accepted  on  a 
rolling  basis.  Please  visit  http://documen 
tarychannel.com/index.htm  for  more  infor- 
mation or  email  programs@documen 
tarychannel.com. 

WIRESTREAM  FILMSEARCH  seeks  films  for 
broadcast.  WireStream  Productions,  in  Co- 
operation with  WireStream  networks,  is 
seeking  independent  films  and  television 
series  for  broadcast.  Genre  welcome 
include  Drama,  Comedy,  SciFi,  Fantasy, 
Nonfiction/Reality  and  Educational  films 
and  series,  suitable  for  general/mature 
audiences.  All  entries  must  be  available  for 
all  rights  worldwide.  Entries  previously  pre- 
sented are  eligible  subject  to  confirmation 
of  rights.  Submit  entries  to  Waye  Hicks, 
Executive  Producer,  via  email  to 
wayne@wirestreamproductions.com,  or  by 
Parcel  Post  to  WireStream  Productions, 
3005B  W.Hwy  76,  Branson  MO  65616. 

WEBCAST 

FILMFIGHTS.COM  democratic  filmfestival 
that  anyone  can  enter,  3  times  a  month. 
We  filmfight  every  ten  days  of  the  month 
(the  10th,  20th,  and  30th)  and  submissions 
are  due  1  day  before  the  fight-given  a  title 
or  genre,  the  submissions  are  voted  on 


through  the  website.  The  winner  is  the 
winner  and  goes  into  the  archives,  and  their 
video  sits  front  and  center  until  the  next 
winner  is  crowned,  along  with  a  little  blurb 
about  whatever  they  feel  like.  Please  visit 
the  website  for  a  complete  list  of  guide- 
lines: http://filmfights.com/submit.shtml. 

KNOWITALLVIDEO  created  an  online  video 
community  aimed  at  world's  largest  user- 
generated  video  collection.  With  an 
exhaustive  list  of  categories  covering  every 
conceivable  subject,  any  wannabe  star  or 
director  with  a  camera  can  easily  upload 
short-form  digital  videos  for  an  unlimited 
audience  of  Internet  and  wireless  PDA 
users  who  search  the  site  by  key  word  or 
category,  all  completely  free  of  charge- 
equal  parts  talent  showcase  and  informa- 
tion resource.  For  more  information  please 
visit  www.knowitallvideo.com. 

WWW.VIDEOART.NET  is  looking  for  new  film- 
makers, video  artists,  producers,  etc.  to 
post  their  clips  into  a  searchable  database. 
Registration  is  free.  We're  also  interested 
in  learning  about  your  work,  new  links, 
trends,  equipment,  and  general  film  dia- 
logue in  the  forums.  A  great  opportunity  to 
showcase  your  talents  and  discuss  your 
work  in  the  forums. 


November  2005  I  The  Independent    61 


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COMEDY  EXPRESS  TV  seeks  funny  films 
under  7  mm.  to  show  and  promote  on  tele- 
vision. We  will  show,  onscreen,  the  credits 
and  contact  information  for  the  filmmakers, 
including  your  15,0001  Please  look  at  our 
website  www.comedyexpresstv.com 
which  gives  more  background  as  well  as 
the  online  release  which  MUST  accompany 
all  submissions.  Contact:  Adam  Gilad 
9229  Sunset  Blvd  LA  CA  90069  adamgi 
lad@mac.com  310  271  0023. 

FILM  IN  THE  CITY  seeks  documentary  film 
submissions  for  "Dinner  and  Docs,"  an 
ongoing  series  that  showcases  new  docs 
each  month.  Film  Docs  must  be  between 
1-1/2  hour  long,  (no  longer),  email  your 
brief  one  paragraph  bio  to  Staff® 
Eventsinthecity.org,  with  'DINNER  AND 
DOCS"  in  the  subject  line  (NO  ATTACH- 
MENTS), email  the  length  of  your  film, 
include  contact  info. 

FIRST  SUNDAYS   COMEDY   FILM   FESTIVAL 

Deadline:  ongoing.  A  monthly  festival  fea- 
turing the  best  in  comedy  and  short 
film/digi/animation  followed  by  an  after- 
screening  networking  event.  An  ongoing 
festival  held  the  first  Sunday  of  each  month 
at  the  Pioneer  Theater  in  New  York,  First 
Sundays  is  the  premiere  opportunity  to 
showcase  work  and  meet  talented  direc- 
tors and  other  indie  dv/film  folk.  Cats:  short 
(under  20  min.),  comedy,  animation/dv/film. 


Formats:  Mini-DV,  DVD,  VHS.  Entry  Fee: 
$20.  Contact:  (email)  film@chicagocitylim- 
its.com  or  www.first  sundays.com. 

MACHINE  DREAMS  is  developing  a  series  of 
theatrical  shows  for  national  audiences 
that  will  involve  original  music,  movies, 
movie  shorts,  animations,  games,  graphics 
and  art.  We  are  conducting  a  global  search 
for  the  best  ORIGINAL  independent  mate- 
rial in  the  following  categories:  Social 
Commentary  &  Societal  Issues,  Humor 
and  Satire,  Special  Effects,  Interactive  "No 
Death"  Gaming,  Great  Media  in  any  form 
(music,  music  video,  movie,  movie  shorts, 
animation,  games,  graphics,  art)  We  plan 
to  incorporate  your  work  in  one  or  more  of 
the  following  ways:  1 .  Include  it  in  a  juried 
show  in  New  York  City,  with  winners 
receiving  recognition  and  cash  prizes  and 
airing  on  a  network  television  show,  2. 
Include  it  in  one  or  more  interactive  shows 
in  New  York  City,  3.  Include  it  in  distribu- 
tion across  movie  theatres,  DVD,  web,  tel- 
evision, cable,  satellite  or  radio  broadcast. 
Email  a  BRIEF  DESCRIPTION  to  us  of  your 
work:  kate@machine-dreams.com  DO 
NOT  SEND  US  YOUR  WORK  YET.  For 
more  information  call  Kate  Lawson  at  612- 
371-4428x11. 

NEW  SCREEN  is  not  just  a  TV  show,  but 
rather,  an  entire  Television  Channel,  dedi- 
cated to  exhibiting  independent  film  and 
fine  art  video.  In  addition  to  television 
exposure,  "New  Vision  Awards,"  totaling 
$17,500  in  cash,  will  be  awarded  this  year 
for  the  following  categories:  Overall  Best 
FilmA/ideo,  Best  Animation,  Best 
Documentary,  Best  Drama,  Best  Student, 
and  Best  Fine  Art.  New  Screen  will  review 
works  of  any  length,  topic,  or  year  of  pro- 
duction. There  is  no  fee  to  submit.  For 
more  info:  www.newscreen.tv. 

SHORT  CUTS  is  now  accepting  submissions 
for  their  monthly  screenings.  No  submis- 
sion fee.  Short  Cuts  is  dedicated  to  provid- 
ing filmmakers  with  an  intimate  setting  to 
screen  their  work  and  network  with  others 
in  the  film  community.  Short  Cuts  encour- 
ages submissions  from  first-time  directors, 
students  and  professionals  living  any 
where  in  the  world.  Round  the  year  sub- 
missions. To  submit,  please  visit  our  web- 
site www.shortcuts.in. 


SMOGDANCE,  the  Seventh  Annual  Pomona 
Film  Festival,  wants  to  see  your  cinematic 
statement.  Our  Smogdance  '04  commit- 
tee is  already  up  and  running.  Contact  us  if 
you'd  like  to  be  a  part  of  the  Inland 
Empire's  most  exciting  and  eclectic  film 
event.  Submission  Deadline:  December 
15,  2005  Festival  Date:  January  21,  2005 
—  January  23,  2005  Smogdance  '04» 
(909)  629-9797  •  FX:  (909)  629-8697  • 
smog  dance@hotmail.com. 

THE  PIONEER  THEATER-NYC's  showcase  of 
independent  cinema.  Always  on  the  look- 
out for  new  movies  to  screen.  To  submit 
for  a  public  screening,  check  out: 
www.twoboots.com/pioneer/submit.htm. 

VERSUSMEDIA  is  seeking  entries  for  their 
first  ever  "Film  Versus  Music"  ten  minute 
film  short  contest  starting  on  June  1st. 
Just  as  the  name  says,  we  want  this  film 
short  contest  to  glorify  the  usage  of  music 
in  film!  It  is  our  hope  that  this  contest  will 
help  spread  the  benefit  of  musicians  and 
filmmakers  working  together  with  a  com- 
mon goal,  exposure.  Usage  of  music  in 
film  can  come  from  a  wide  range  of  film 
topics  and  genres,  so  we  are  not  requiring 
a  set  theme  to  the  film  submissions.  For 
further  information  regarding  this  contest, 
please  visit  www.versusmedia.com/con 
test.php. 

WOMEN  IN  THE  DIRECTOR'S  CHAIR 
FILM/VIDEO  FESTIVAL  is  the  largest  and 
longest-running  women's  film  and  video 
festival  in  the  US.  Since  1980,  the  annual 
Women  in  the  Director's  Chair  Festival  has 
showcased  an  incredible  array  of  over 
1200  outstanding  films,  videos  and  other 
media  by  women,  girls  and  transgendered 
directors  from  aound  the  world.  Each  year, 
the  festival  draws  on  over  100  enthusias- 
tic volunteers  of  varied  backgrounds  to 
view,  discuss,  debate,  review,  ultimately 
determine  the  films  and  videos  that  will 
show  that  year.  The  goal  of  the  festival  is 
to  create  a  space  in  which  a  plurality  of 
visions,  representing  very  different  cultur- 
al, political  and  personal  priorities,  results 
in  exchange  and  interaction.  Submission 
deadline:  November  15,  2005.  (773) 
907-0610  •  FX:  (773)  907-0381 
widc@widc.org. 


62  The  Independent  I  November  2005 


THANK  YOU 


The  Association  of  Independent  Video  and  Filmmakers 
(AIVF)  provides  a  wide  range  of  programs  and  services 
for  independent  moving  image  makers  and  the  media 
community,  including  The  Independent  and  a  series  of 
resource  publications,  seminars  and  workshops,  infor- 
mation services,  and  arts  and  media  policy  advocacy. 

None  of  this  work  would  be  possible  without  the 
generous  support  of  the  AIVF  membership  and  the 
following  organizations: 

We  also  wish  to  thank  the  following  individuals  and 
organizational  members: 


BUSINESS/INDUSTRY  MEMBERS:  AL:  Cypress  Moon  Productions; 
CA:  SJPL  Films,  Ltd.;  CO:  CU  Film  Studies,  Pay  Reel;  CT:  Anvil 
Production;  DC:  Corporation  for  Public  Broadcasting;  FL:  Charter 
Pictures  Entertainment;  Key  West  Films  Society;  GA:  Lab  601 
Digital  Post;  IL:  Shattering  Paradigms  Entertainment,  LLC;  MA: 
Exit  One  Productions;  MD:  NewsGroup,  Inc.;  TLF  Limited 
Management;  Ml:  Logic  Media  LLC;  MS:  Magnolia  Independent 
Film  Festival;  NY:  Entertainment  Pro  Insurance;  Baraka 
Productions;  Cypress  Films;  Deutsch/Open  City  Films;  Docurama; 
Forest  Creatures  Entertainment;  getcast.com;  Harmonic  Ranch; 
Larry  Engel  Productions  Inc.;  Lightworks  Producing  Group;  Mad 
Mad  Judy;  Metropolis  Film  Lab;  Missing  Pixel;  Off  Ramp  Films, 
Inc.;  On  the  Prowl  Productions;  OVO;  Possibilites  Unlimited 
Production  Central;  Range  Post;  Robin  Frank  Management 
Rockbottom  Entertainment,  LLC;  Talent  Solutions;  The  Outpost 
Triune  Pictures;  United  Spheres  Production;  VA:  Karma 
Communications  Film  &  Video;  WA:  Sound  Wise;  Two  Dogs 
Barking; 

NONPROFIT  MEMBERS:  AR:  Henderson  State  University; 
CA:  Bay  Area  Video  Coalition;  California  Newsreel;  Everyday 
Gandhis  Project;  Film  Arts  Foundation;  International  Buddhist  Film 
Festival;  NAATA/Media  Fund;  NALIP;  Sundance  Institute;  USC 
School  of  Cinema  and  TV;  CO:  Denver  Center  Media;  Free  Speech 
TV:  CT:  Hartley  Film  Foundation;  DC:  American  University  School 
of  Communication;  CINE;  Media  Access;  FL:  Miami  International 
Film  Festival;  University  of  Tampa;  GA:  Image  Film  and  Video 
Center;  HI:  Pacific  Islanders  in  Communications;  IL:  Community 
Television  Network;  Department  of  Communication/NLU; 
Kartemqum  Films;  IN:  Fort  Wayne  Cinema  Center;  Kansas  City 
Filmmakers  Jubilee;  KY:  Appalshop;  MA:  CCTV;  Documentary 
Educational  Resources;  Harvard  University,  OsCLibrary;  LTC;  MD: 
Laurel  Cable  Network;  Silverdocs:  AFI  Discovery  Channel  Doc 
Festival;  ME:  Maine  Photographic  Workshop;  Ml:  Ann  Arbor  Film 
Festival;  MN:  IFP/MSP;  Walker  Art  Center;  MO:  dhTV;  Webster 
University  Film  Series;  NC:  Broadcasting/Cinema;  NE:  Nebraska 
Independent  Film  Project/AIVF  Salon  Lincoln;  NJ:  Black  Maria  Film 
Festival;  Princeton  University.  Program  in  Visual  Arts;  University  of 
New  Mexico;  NY:  ActNow  Productions;  Arts  Engine;  Council  for 
Positive    Images,    Inc.;    Creative   Capital    Foundation;    Crowing 


«? 


© 

PBS 


Kodak 

Mcilmn  Picture  Hm 


City  of  New  York  Dept.  of  Cultural  Affairs 

Discovery  Wines 

Experimental  Television  Center  Ltd. 

Forest  Creatures  Entertainment,  Inc. 

Home  Box  Office 

The  Jewish  Communal  Fund 

John  D.  and  Catherine  T.  MacArthur  Foundation 

The  Nathan  Cummings  Foundation 

The  National  Endowment  for  the  Arts 

New  York  State  Council  on  the  Arts 

The  Norman  and  Rosita  Winston  Foundation 

PBS 

Yuengling  Beer 

The  Advertising  Club 

KODAK 

Two  Boots 

Great  Performances  Catering 


Rooster  Arts;  Dutchess  Community  College  Student  Activites; 
Educational  Video  Center;  Film  Forum;  Film  Society  of  Lincoln 
Center;  Firelight  Media;  International  Film  Seminars;  LMC-TV; 
Manhattan  Neighborhood  Network;  National  Black  Touring  Circuit; 
National  Black  Programming  Consortium;  National  Musuem  of  the 
American  Indian;  National  Video  Resources;  New  York  University, 
Cinema  Studies;  New  York  Women  in  Film  and  Television; 
Parnassus  Works;  POV/The  American  Documentary;  RIT  School 
of  Film  and  Animation;  Squeaky  Wheel;  Stony  Brook  Film  Festival; 
Syracuse  University;  United  Community  Centers;  Upstate  Films, 
Ltd.;  Witness;  Women  Make  Movies;  OH:  Athens  Center  for  Film 
And  Video;  Independent  Pictures/AIVF  Ohio  Salon;  Media  Bridges 
Cincinatti;  School  of  Film,  Ohio  University;  Wexner  Center;  OR: 
Northest  Film  Center;  The  Oregon  Film  &  Video  Foundation;  PA: 
American  INSIGHT,  Inc.;  TeamChildren.com;  Rl:  Flickers  Arts 
Collaborative;  SC:  Department  of  Art,  University  of  South  Carolina; 
South  Carolina  Arts  Commission;  TX:  Austin  Film  Society; 
Houston  Film  Commission;  Southwest  Alternate  Media  Project; 
University  of  Texas  RTF;  UT:  Sundance  Institute;  WA:  Seattle 
Central  Community  College;  UWM  Dept.  of  film;  Canada: 
Cinematheque  Quebecoise  Musee  Du  Cinema;  France:  The 
Carmago  Foundation 

FRIENDS  OF  AIVF:  Angela  Alston,  Sabina  Maja  Angel,  Tom 
Basham,  Aldo  Bello,  David  Bemis,  Doug  Block,  Liz  Canner,  Hugo 
Cassirer,  Williams  Cole,  Anne  del  Castillo,  Arthur  Dong,  Martin 
Edelstem,  Esq.,  Aaron  Edison,  Paul  Espinosa,  Karen  Freedman, 
Lucy  Garrity,  Norman  Gendelman,  Debra  Granik,  Catherine  Gund, 
Peter  Gunthel,  David  Haas,  Kyle  Henry,  Lou  Hernandez,  Lisa 
Jackson,  John  Kavanaugh,  Stan  Konowitz,  Leonard  Kurz,  Lyda 
Kuth,  Steven  Lawrence,  Bart  Lawson,  Regge  Life,  Juan 
Mandelbaum,  Diane  Markrow,  Tracy  Mazza,  Leonard  McClure, 
Daphne  McDuffie-Tucker,  Jim  McKay,  Michele  Meek,  Robert 
Millis,  Robert  Millis,  Richard  Numeroff,  Elizabeth  Peters,  Laura 
Poitras,  Robert  Richter,  Hiroto  Saito,  Larry  Sapadin,  James 
Schamus,  John  Schmidt,  Nat  Segaloff,  Robert  Seigel,  Gail  Silva, 
Innes  Smolansky,  Barbara  Sostaric,  Alexander  Spencer,  Miriam 
Stern,  George  Stoney,  Rhonda  Leigh  Tanzman,  Rahdi  Taylor,  Karl 
Trappe,  Jane  Wagner,  Bart  Weiss 


November  2005  I  The  Independent    63 


THE  LIST 

Tooling  Around 


By  Erica  Berenstein 

Independent  filmmakers  have  been  known  to  resort  to  some  pretty  crazy  inventions 
when  they  find  themselves  at  a  technological  loss — a  wheelchair  as  a  dolly,  for  example. 
We  asked  some  of  our  favorite  filmmakers  to  tell  us  about  the  most  creative  tool  or  process 

they  came  up  with  to  replace  the  real  thing. 


"The  director,  Keith  Beauchamp,  and  I  were  preparing  a 
grassroots  mailing  to  local  churches  in  the  area  and  had  10,000 
postcards  divided  amongst  14  heavy  boxes  that  we  needed  to  get 
to  the  post  office  and  mail  out.  The  first  thing  we  did  was  load 
up  my  buildings  dolly,  which  we  had  borrowed  and  trekked 
through  the  summer  heat  from  58th  and  First  to  the  US  Post 
Office  on  3rd  and  53rd.  We  looked  like  out-of-place  garment 
center  workers.  When  we  arrived,  there  was  not  an  elevator  in 
sight.  So  in  the  middle  of  rush  hour,  I  asked  Keith  to  take  the 
escalator  to  the  second  floor.  We  proceeded  to  turn  the  escala- 
tor into  our  personal  assembly  line.  One  by  one,  I  loaded  the 
boxes  on  the  escalator.  Keith  was  at  the  top,  receiving  and  sort- 
ing our  materials.  Heads  turned  and  passerbys  praised  us  for  our 
resourcefulness." 

— Steven  Laitmon,  executive  producer, 
The  Untold  Story  ofEmmett  Louis  Till 

"Back  in  film  school  we  wanted  to  do  a  Sam  Raimi  bullet- 
POV  shot,  so  I  held  the  camera  while  somebody  pushed  me  on 
my  roller  blades.  It  would  have  worked  too — if  I  wasn't  so 
klutzy!" 

— Debra  Kirschner,  writer/director/producer,  The  Tollbooth 

"How  to  light  a  scene  that  happens  at  night  in  total  darkness 
when  you  have  no  money  for  generators  and  no  permission  to 
use  extension  cords  in  any  nearby  buildings  to  plug  in  lights: 
Take  your  car  and  aim  the  headlights  at  the  scene,  remember  to 
turn  the  engine  off  for  sound. ..Then  use  battery  operated  "push 
lites"  held  just  out  of  frame  for  fill  light  on  the  faces.   Or,  aim  a 


flashlight  at  a  flex  fill. ..Color  balance  under  that  existing  light 
scheme.  That's  how  I  did  it  in  my  first  no  budget  miniDV  indie 
short,  jared.  It  was  pretty  comical  now  when  I  think  back  on  it, 
but  it  worked,  and  that  little  movie  went  on  to  win  a  grand  jury 
prize  at  a  film  festival  in  Madrid...  I  have  since  won  lots  of 
grants  to  make  two  more  shorts,  using  35mm  film  and  real 
lights." 

— Joyce  Draganosky,  writer/director/producer/editor, 
jared,  Extreme  Mom,  The  Science  of  Love 

"When  you  can't  afford  to  make  a  movie,  just  create  a  flip- 
book  on  a  pad  of  Post-Its." 

— Dave  Gebroe,  writer/director/producer, 
Zombie  Honeymoon 

"There  was  the  time  I  shot  16mm  film  of  a  Steenbeck  screen 

running  16mm  footage.  I  sped  it  up  and  slowed  it  down  at  will: 

It  was  my  cheap,  homemade  optical  printer,  and  worked  great!" 

— Francesca  Talenti,  producer/animator,  The  Planets 

"I  used  several  lengths  of  PVC  plumbing  pipes  to  make  a 
track  over  uneven  ground.  It  involved  cutting  a  slit  in  the  pipes, 
which  is  easy  as  they  are  plastic,  and  attaching  two  legs  of  a  tri- 
pod to  a  smaller  'torpedo'  pipe  running  inside.  It  made  a  really 
long  and  smooth  track  over  huge  distances  in  a  field." 

— Gregory  Copeland,  writer/director, 

A  Rock  N'  Roll  Legacy:  Ayatollah  &  The  Heretics; 

Salsa:  The  Story  of  Rico 's  Two  Passions 


64  The  Independent  I  November  2005 


Depth  and  Breadth 


ITN  Archive  exclusively  represent  the  archives  of  Reuters, 
British  Pathe,  ITN,  Fox  Movietone,  Fox  News  and  Granada. 

From  science,  history  or  wildlife,  to  celebrities,  current  affairs 
and  music.  Whatever  your  genre,  you'll  find  it  here. 


Start  your  search  with  us 


US  Sales 

Telephone:  +1  646  723  9540 
Email:         nysales@itnarchive.com 
lasales@itnarchive.com 


ITN  Archive 

archive 


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An  ITN 
Enterprise 


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a  magazine  for  video  and  filmmakers 


THE 


December  2005 


Enough  about  me,  let  s  talk  about  me: 
documentary  as  the  new  memoir 
Jem  Cohens  narrative-doc  hybrid  film  Chain 
Docurama:  ahead  of  the  curve 


A  Publication  ofThe  Association  of  Independent  Video  and  Filmmakers 

www.aivf.org 


Depth  and  Breadth 


jtfVppE,    ^^B 


We  represent  some  of  the  most  famous  television 
archives  in  the  world.  Whatever  programme 
you're  making,  we  have  the  footage. 


ITN  Archive  exclusively  represent  the  archives  of  Reuters, 
British  Pathe,  ITN,  Fox  Movietone,  Fox  News  and  Granada. 

From  science,  history  or  wildlife,  to  celebrities,  current  affairs 
and  music.  Whatever  your  genre,  you'll  find  it  here. 


Start  your  search  with  us 


US  Sales 

Telephone:  +1  646  723  9540 
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lasales@itnarchive.com 


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jrwi  livt  I 


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An  ITN 
Enterprise 


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All  workshops  are  solely  owned  and  operated  by  the  New  York  Film  Academy  and  are\  hot  affiliated  with 
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Film  Happens 


See  the  Stories 

Find  up-to-date  festival  information,  including 
box  office  info  and  new  SFF  2006  merchandise, 
at  WWW.SUNDANCE.ORG 

Book  your  accommodations,  air  and  the  rest  of  your 
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delta.COm  2006  Sundance  Film  Festival. 


SUNDANCE 

FILM  FESTIVAL 


Volume  28  Number  10 

Cover:  Kara  Walker's  still  from  "8  Possible  Beginnings  or  the  Creation  of  African-America,"  shown  at  the  REDCAT  gallery  in  Los  Angeles 
[courtesy  Sikkema  Jenkins  &  Co.  and  the  attist] 

Contents 


Upfront 


Features 


5  EDITOR'S  LETTER 

6  CONTRIBUTORS 
9  NEWS 

St.  Clair  Bourne  will  curate  a  series  at  the  2006 
Full  Frame  Documentary  Film  Festival;  Film  Your 
Issue  begins  round  two;  Pennebaker  and  Hegedus 
awarded  IDA's  Career  Achievement  Award 
By  Michelle  Orange 

16  UTILIZE  IT 

Tools  and  news  you  can  use 
By  David  Aim 

1 8  ON  DVD 

Reviews  of  films  now  available  on  DVD 
By  Shana  Liebman 

20  FIRST  PERSON 

Is  documentary  the  new  memoir? 

A  sociologist's  view  from  the  couch 

By  Christopher  Bonastia 

25  DOC  DOCTOR 

Do  doc  makers  need  business  plans?  What's  the 
best  way  to  tell  a  potential  co-worker  no? 
By  Fernanda  Rossi 

27  ON  THE  SCENE 

Kara  Walker's  startlingly  beautiful  images  at  the 
REDCAT  gallery  in  Los  Angeles 
By  Malik  Gaines 


32  THE  ANYWHERE  EFFECT 

Jem  Cohen's  Chain  stars  undirected  real-life 
footage 

By  Lisa  Selin  Davis 

36  DOCURAMA  ON  THE  RISE 

The  new  masters  of  docs  on  DVD 
By  Kathrine  Dykstra 


40  PROFILE 

Jennifer  Fox  lets  her  subjects  come  out 
By  Holly  Willis 

44  PRODUCTION  JOURNAL 

Shooting  a  robbery:  He  didn't  set  out  to  make  a 
documentary... 

By  Rusty  Nails 

47  LEGAL 

How  and  why  to  get  permission — even  when  it 
seems  unnecessary 

By  Fernando  Ramirez,  Esq. 


Listings 

49  FESTIVALS 
56  CLASSIFIEDS 
59  NOTICES 
61  WORK  WANTED 

63  THANKS 

64  THE  LIST 


www.aivf.org 


December  2005  |  The  Independent    3 


13TH  JAMES  RIVER  FILM  FESTIVAL 


VIRGINIA'S  FESTIVAL  FOR  THE  INDEPENDENT-KINDED 
Richmond,  Virginia  *  Karch  20-26,  2006 
Up  to  $2,000  in  cash/prizes! 


CALL  FOR  ENTRIES 

Deadline:  January  2C,  2006 


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NEW  DAY  FILMS  is  the  premiere  distribution 
company  for  social  issue  media  owned  and 
managed  by  filmmakers.  We  have  distributed 
documentary  film  and  video  for  over  30  years 
to  non-theatrical  markets.  With  a  strong  com- 
mitment to  diversity  within  our  membership 
and  the  content  of  the  media  we  represent, 
we  welcome  your  interest! 

www.newday.com  •  join@newday.com 


Or  call  Alice  Elliott:  212.924.7151 


Seeking  energetic 
independent  makers 
of  social  issue 
documentaries  f< 
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■  |    FILM  AND  VIDEO  MONTHLY  | 

Independent 

Publisher:  Bienvenida  Matias 

lpublisher@aivf.org] 

Editor-in-Chief:  Rebecca  Carroll 

leditor@aivf.org] 

Managing  Editor:  Shana  Liebman 

|i  ndependent@aivf.org] 

Associate  Editor:  Katherine  Dykstra 
(fact@aivf.org) 

Designer:  R.  Benjamin  Brown 

lbenbrowngraphic@msn.com] 

Production  Associate:  Timothy  Schmidt 

lgraphics@aivf.org] 

Editorial  Associate:  Erica  Berenstein 

|notices@aivf.org] 

Contributing  Editors: 

Sherman  Alexie,  David  Aim,  Pat  Aufderheide, 

Monique  Cormier,  Bo  Mehrad,  Cara  Merles,  Kate  Turtle 

Contributing  Writers: 

Elizabeth  Angell,  Margaret  Coble,  Lisa  Selin  Davis, 

Matt  Dunne,  Gadi  Harel,  Rick  Harrison 

Advertising  Representative:  Veronica  Shea 

(212)  807-1400  x232;  lveronica@aivf.org] 

Advertising  Representative:  Michael  Tierno 

(212)  807-1400  x234;  |mike@aivf.org] 

Classified  Advertising:  Michael  Tierno 

(212)  807-1400  x241;  [classifieds@aivf.org] 


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POSTMASTER:  Send  address  changes  to: 

The  Independent 
304  Hudson  St ,  6  fl .  New  York,  NY  10013 

The  Independent  (ISSN  1077-8918)  is  published  monthly  (except 
combined  issues  January/February  and  July/August)  by  the 
Foundation  for  Independent  Video  and  Film  (FIVF),  a  501(c)(3) 
dedicated  to  the  advancement  of  media  arts  and  artists 
Subscription  to  the  magazine  is  included  in  annual  membership 
dues  ($70/yr  individual,  $40/yr  student;  $200/yr  nonprofit/school; 
$200-700/yr  business/industry)  paid  to  the  Association  of 
Independent  Video  and  Filmmakers  (AIVF),  the  national  profes- 
sional association  of  individuals  involved  in  moving  image  media. 
Library  subscriptions  are  $75/yr.  Contact:  AIVF  304  Hudson  St., 
6  fl.,  New  York,  NY  10013,  (212)  807-1400:  fax:  (212)  463-8519; 
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Periodical  Postage  paid  at  New  York,  New  York 
and  at  additional  mailing  offices. 

Printed  in  the  USA  by  Cadmus  Specialty  Publications 


y& 


Publication  of  The  Independents  made  possible 
in  part  with  public  funds  from  the  New  York 
State  Council  on  the  Arts,  a  state  agency,  and 
the  National  Endowment  for  the  Arts,  a  federal 
agency. 


Publication  of  any  ad  in  The  Independent  does  not  consti- 
tute an  endorsement.  AIVF/FIVF  are  not  responsible  for 
any  claims  made  in  an  ad.  All  contents  are  copyright  of 
the  Foundation  for  Independent  Video  and  Film,  Inc. 
Reprints  require  written  permission  and  acknowledge- 
ment of  the  article's  previous  appearance  in  The 
Independent  The  Independent  is  indexed  in  the  Alternative 
Press  Index  and  is  a  member  of  the  Independent  Press 
Association. 

AIVF/FIVF  staff:  Bienvenida  Matias,  executive  director; 
Sean  Shodahl,  program  director;  Pnscilla  Grim,  member- 
ship director;  Katie  Amslie,  information  services  director; 
Web  Services  US,  Taishon  Black,  technology  consultant; 
David  Diez,  Claro  de  los  Reyes,  Benu  Laniry,  interns; 
AIVF/FIVF  legal  counsel:  Robert  I.  Freedman,  Esq., 
Cowan,  DeBaets,  Abrahams  &  Sheppard. 

AIVF  Board  of  Directors:  Paula  Manley  (Secretary), 
Bienvenida  Matias  (ex  oficio),  Simon  Tarr 
(Chair/Treasurer),  Elizabeth  Thompson  (President),  Bart 
Weiss. 

©  Foundation  for  Independent  Video  &  Film,  Inc.  2005 


4  The  Independent  |  December  2005 


EDITOR'S  LETTER 

Dear  Readers, 

When  we  were  growing  up,  my  broth- 
er had  a  friend  who  called  our  house: 
"The  Carrolls,  where  kids  are  king." 
Compared  to  his  house,  where  his  par- 
ents made  conventional  rules,  sent  him  to 
camp,  and  expected  primarily  manners 
and  reverence  from  their  children,  our 
house  might  as  well  have  been  the  Land 
of  Oz.  My  parents,  both  artists,  taught  us 
how  to  make  books  and  catch  fish, 
encouraged  us  to  write  plays  and  poems, 
and,  generally  speaking,  made  the  very 
idea  of  camp  seem  kind  of  ridiculous.  We 
felt  cherished  and  attended  to,  smart  and 
creative — because  our  parents  spent  time 
with  us,  and  although  it  could  be  argued 
that  living  in  1960s  rural  New 
Hampshire  afforded  them  the  luxury  to 
do  so,  I  am  determined  to  find  a  way  in 
millennium  New  York  City  to  make  my 
kid  feel  like  a  king. 

And  that  means,  for  starters,  if  I'm 
going  to  spend  consolidated  time  away 
from  him,  the  job  had  better  be  worth  it. 
I  have  loved  my  tenure  as  Editor  at  The 
Independent.  And  I  am  tremendously 
proud  of  what  I  have  achieved  in  terms  of 
broadening  the  magazine's  scope,  diversi- 
fying its  content,  and  enhancing  the  qual- 
ity of  writing  to  a  more  literary  level.  But 
it's  become  clear  to  me  (nothing  like  hav- 
ing a  kid  to  put  things  into  perspective 
right  quick)  that  I've  taken  the  magazine 
and  my  position  here  as  far  as  I  can.  And 
so,  the  next  issue — January/February 
2006— will  be  my  last. 

In  this  issue,  however,  we  are  looking 
at    the    beautiful    art    of  documentary 


film — the  telling  of  true  stories,  or  stories 
that  are  mostly  true,  or  let's  say  stories 
that  are  based  on  truth... mostly. 

Our  First  Person  column  comes  from 
writer  and  sociologist  Christopher 
Bonastia,  who  smartly  makes  the  associa- 
tion between  the  recent  onslaught  of 
(perhaps  too)  personal  memoirs  and  doc- 
umentaries in  which  the  filmmaker  is  the 
subject.  And  even  more  smartly  suggests 
that  if,  as  a  documentary  filmmaker, 
you're  going  to  make  a  film  about  your- 
self, "you  better  be  pretty  damn  fascinat- 
ing." (page  20) 

New  to  our  pages,  LA-based  writer 
Malik  Gaines  fills  us  in  from  On  the 
Scene  at  the  REDCAT  (Roy  And  Edna 
Disney/CalArts  Theater)  in  LA,  where 
the  almost  unsettlingly  brilliant  artist 
Kara  Walker's  multimedia  exhibition 
"Song  of  the  South"  opened  in 
September,  featuring  overhead  projec- 
tions, a  shadow  puppet  performance,  and 
a  new  16mm  film:  "8  Possible 
Beginnings  or  the  Creation  of  African- 
America.  A  Moving  Picture  by  the 
young,  self-taught,  Genius  of  the  South 
K.E.  Walker."  How's  that  for  a  true  story? 
(page  27) 

Contributing  writer  Lisa  Selin  Davis 
talked  to  filmmaker  Jem  Cohen,  whose 
latest  film  Chain  takes  on  shopping  cen- 
ters and  strip  malls  in  a  somewhat  script- 
ed, somewhat  non-scripted  way,  which 
according  to  Cohen,  is  actually  where  the 
truth  and  the  art  of  it  lies:  "What  I  find 
most  satisfying  is  that  people  who  go  to 
the  movie  are  unsure  as  to  where  the  doc- 
umentary slips  off  and  where  the  narra- 
tive begins."  (page  32) 

Also,  associate  editor  Katherine 
Dykstra  on  Docurama  (page  36);  a  pro- 
file of  documentary  filmmaker  Jennifer 
Fox  (page  40);  and  narrative  filmmaker 
and  Movieside  Film  Festival  founder 
Rusty  Nails  discovers  he  likes  making 
documentaries  (page  AA). 

Enjoy,  and  thanks  for  reading 

The  Independent, 

Rebecca  Carroll 

Editor-in-Chief 


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December  2005  |  The  Independent    5 


CONTRIB  UTORS 


DAVID  ALM  is  a  Brooklyn-based 
journalist,  editor,  teacher,  and  contribut- 
ing editor-at-large  for  this  magazine.  He 
has  written  widely  on  film,  contempo- 
rary art,  and  design  for  such  magazines 
as  American  Artist,  Artbyte,  Camerawork, 
RES,  SOMA,  Utne  Reader,  and  Time  Out 
Chicago.  He  also  has  contributed  to 
books  on  web  design  and  digital  film- 
making, and  assisted  in  making  several 
short  films  and  documentaries.  He  holds 
a  master's  degree  in  the  humanities  with 
an  emphasis  on  film  and  English  from 
the  University  of  Chicago. 

ELIZABETH  ANGELL  is  a  freelance 
writer  living  in  New  York.  She  recently 
received  an  MFA  in  creative  writing 
from  Columbia  and  is  at  work  on  her 
first  book. 


CHRISTOPHER  BONASTIA  is  an 
Assistant  Professor  in  the  Department  of 
Sociology  at  the  City  University  of  New 
York,  Lehman  College.  His  book, 
Knocking  on  the  Door:  The  Federal 
Government's  Attempt  to  Desegregate  the 
Suburbs,  will  be  published  in  2006  by 
Princeton  University  Press.  As  a  journal- 
ist, his  writing  has  appeared  in  The  New 


Republic,  Vibe,  SF  Weekly,  and  The  San 
Francisco  Bay  Guardian.  If  you  want  to 
check  out  his  new  "album,"  you  can 
email  him  at  uno.collision@gmail.com. 

LISA  SELIN  DAVIS  is  the  author  of 
the  novel,  Belly,  published  this  year  by 
Little,  Brown  &  Co.,  and  a  freelance 
writer  in  New  York. 

KATHERINE  DYKSTRA,  The 
Independents  associate  editor,  is  also  a 
contributor  at  The  New  York  Post  and  a 
freelance  writer  and  editor.  Her  work 
has  appeared  in  Time  Out  New  York, 
Fodor's  travel  guides,  Redbook,  and 
Ironminds.com.  She  is  a  recent  gradu- 
ate of  The  New  School  University's 
nonfiction  MFA  program.  And  she 
spends  Wednesday  afternoons  teaching 
creative  writing  to  the  coolest  kids  in 
Harlem. 


Plant  in  Toronto,  and  the  UCLA 
Hammer  Museum  in  Los  Angeles. 
Gaines  teaches  writing  at  the  University 
of  California  Irvine. 


MALIK  GAINES  is  a  writer  and 
performer  based  in  LA.  He  has  written 
for  numerous  publications  including 
Artforum  and  Frieze,  and  performs  with 
his  musical  group,  My  Barbarian, 
which  has  done  recent  projects  at 
Participant,  Inc.  in  NYC,  The  Power 


RUSTY  NAILS  is  a  filmmaker, 
actor,  writer,  and  the  director  of  the 
Movieside  Film  Festival  (the  world's 
largest  short  film  festival).  In  addition 
to  his  feature  film  Acne,  he  is  collecting 
16  short  films  for  an  upcoming  DVD 
release.  He  is  currently  in  post-produc- 
tion of  the  doc  features  Highway 
Robbery  and  Dead  On:  The  Life  and 
Cinema  of  George  A.  Romero.  He  is  cur- 
rently working  on  the  script  for  a  horror 
drama  called  Teenagers  From  Mars.  Mr. 
Nails  has  written  for  Stop  Smiling 
Magazine,  Supersphere.com,  Venus 
Magazine  among  others.  For  film  info: 
www.neweyefilms.com.  For  festival 
info:  www.movieside.com. 

MICHELLE  ORANGE  is  a  freelance 
writer  whose  work  has  appeared  in 
Salon,  The  Sun  Magazine  and 
McSweeney's  among  others.  She  lives  in 
New  York. 

FERNANDO  RAMIREZ,  ESQ.  is 
an  attorney  in  private  practice  in  New 
York  City  where  he  lives  with  his  wife 
and     12-year-old     son/aspiring     doc- 


6  The  Independent  |  December  2005 


maker.  He  graduated  from  Fordham 
University  and  earned  his  law  degree 
from  Brooklyn  Law  School.  His  work 
involves  transactional  entertainment 
law.  He  drafts,  reviews,  and  negotiates 
industry  agreements,  and  he  advises  on 
copyright,  trademark,  contracts,  priva- 
cy, and  business  formation  matters  for 
independent  filmmakers,  executive  pro- 
ducers, media  personalities,  songwriters, 
personal  managers,  independent  labels, 
and  nonprofit  film  organizations. 

FERNANDA  ROSSI,  known  as  the 
Documentary  Doctor,  is  a  filmmaker 
and  story  consultant  who  helps  film- 
makers craft  the  story  structure  of  their 
films  in  all  stages  of  the  filmmaking 
process.  She  has  doctored  over  100 
documentaries  and  fiction  scripts,  and 
is  the  author  of  Trailer  Mechanics:  A 
Guide  to  Making  Your  Documentary 
Fundraising  Trailer.  For  more  info: 
www.documentarydoctor.com. 

HOLLY  WILLIS  is  the  author  of  New 
Digital  Cinema:  Reinventing  the 
Moving  Image  (Wallflower  Press), 
which  chronicles  the  advent  of  digital 
filmmaking  tools  and  their  impact  on 
contemporary  media  practices.  She  is 
also  the  former  editor  of  RES 
Magazine,  a  bimonthly  publication 
devoted  to  experiments  in  film,  video, 
and  new  media,  and  she  has  written 
extensively  on  experimental  media 
practices  for  a  variety  of  publications. 
She  currently  teaches  classes  in  film, 
video,  and  new  media  at  USC,  Art 
Center  College  of  Design  and 
California  Institute  of  the  Arts. 


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Full  Frame  Ahead 


St.  Clair  Bourne  will  curate  a  festival  series  in  2006 


Filmmaker  St.  Clair  Bourne  [photo  courtesy  of  Chamba  Notes] 


By  Michelle  Orange 


From  Harvest  of  Shame  (Edward  R. 
Murrow's  broadcast  about  migrant 
workers,  1960)  to  Titicut  Follies 
(Frederick  Wiseman,  1967)  to  The  Thin 
Blue  Line  (Errol  Morris,  1988),  and  the 
Rodney  King  tapes,  from  the  most  intri- 
cately crafted  films  to  pieces  of  tape  that 
simply  say  "this  happened,"  the  power 
of  documentary  to  open  the  eye  is  indu- 
bitable. In  recent  years  the  form's  popu- 
lar resurgence  seems  to  have  redoubled 
that  power,  and  Full  Frame 
Documentary  Film  Festival  founder 
Nancy  Buirski  is  confident  that  come 
April  2006  she'll  have  a  lineup  of  films 
that  demand  to  be  seen. 


Part  of  that  confidence  comes  with 
the  recruitment  of  acclaimed  documen- 
tary filmmaker  St.  Clair  Bourne,  whose 
films  include  Dr.  Ben  (2001)  and 
Nothing  But  Common  Sense  (1972),  to 
curate  a  series  of  six,  two-hour  docu- 
mentaries focusing  on  issues  of  class  in 
America. 

Bourne,  who  began  his  career  as  a  tel- 
evision producer  working  on  shows  like 
"Black  Journal"  and  "Sesame  Street" 
during  one  of  public  television's  richest 
periods  in  the  late  1960s,  formed  the 
still  operational  Chamba  Mediaworks  in 
1971  launching  his  career  as  a  producer 
and  director  of  films  that  explore  issues 


or  African-American  heritage  in  the 
context  of  America's  eruption-prone, 
socio-political  landscape. 

"I  attempt  to  show  the  folly  of  trying 
to  operate  under  a  capitalist  system  by 
looking  at  people  who  have  done  it  and 
the  price  they  paid,"  says  Bourne,  who 
has  directed  documentaries  about 
Langston  Hughes,  Paul  Robeson,  Amiri 
Baraka,  and  Gordon  Parks.  The  Full 
Frame  series  is  an  opportunity  that 
Bourne  is  looking  forward  to  because,  as 
he  points  out,  there  just  aren't  that  many 
American  films  that  deal  with  the  sub- 
ject directly. 

"There's  American  Dream  and  People 


December  2005  |  The  Independent    9 


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Like  Us  and  Finally  Got  the  News,  but  I 
don't  think  there  are  nearly  as  many  as 
there  should  be,"  he  says.  At  press  time, 
Bourne  had  already  received  about  two 
dozen  submissions  for  the  series,  and  his 
hope  was  that  he  could  put  together  a 
program  that  illustrates  "where  class 
ends  and  race  begins,  and  vice  versa." 
He  believes  that  the  two  are  inextricably 
bound  and  that  too  often  issues  of  class 
are  used  to  avoid  dealing  with  issues  of 
race.  Bourne  is  quick  to  point  out,  how- 
ever, that  his  choices  will  include  all 
perspectives  and  all  races  citing 
American  Hollow,  a  documentary  by 
Rory  Kennedy  about  a  poor  white  fami- 
ly in  eastern  Kentucky,  as  an  example  of 
a  possible  film  for  the  series. 

When  asked  about  his  hopes  for  these 
films  finding  a  larger  audience,  Bourne 
is  frank,  if  determined.  Public  television 
retains  a  special  place  in  Bourne's  heart, 
but  he  is  angered  that  no  one  seems  to 
be  speaking  up  for  an  outlet  that  is  "cap- 
tive to  the  Bush  agenda,"  he  says.  "I'm 
in  favor  of  anything  that  democratizes 
the  public  conversation,  and  that's  what 
public  television  used  to  do.  Now  it's 
back  to  animals,  bugs,  and  God." 
Bourne  was  about  to  pitch  a  9/1 1  docu- 
mentary about  Islam  and  Africa  when 
we  spoke.  He  admitted  it  would  be  a 
tough  sell:  "The  political  climate  has 
done  its  job  in  that  it  has  made  people 
back  off  from  political  subjects.  This 
makes  the  Full  Frame  series  even  more 
imperative. 

Nancy  Buirski  says  the  decision  to 
invite  Bourne  to  curate  was  easy:  "I 
admire  his  work  enormously,  and  I've 
always  wanted  to  work  with  him.  The 
issue  of  class  is  wrapped  up  in  issues  of 
color  in  this  country,  and  that's  part  of 
what  makes  St.  Claire  such  a  good  fit — 
he's  a  tremendous  advocate  for  that  kind 
of  discourse." 

Buirski  points  to  Hurricane  Katrina 
and  the  problems  it  brought  to  the  fore 
as  the  impetus  for  the  program  and  its 
theme.  "Hurricane  Katrina  was  a  huge 
eye-opener,"  she  says.  "There  was  an 
immediate  conversation  about  class  and 
poverty  that  came  out  of  the  aftermath." 
In  addition  to  Bourne's  program,  Full 
Frame    will    also    feature    a    "Southern 


12  The  Independent  |  December  2005 


Married  flmmakers  Chris  Hegedus  (left)  and  DA  Pennebaker  (right)  [photo  courtesy  of  PH  Films] 


Sidebar" — a  selection  of  films  dealing 
specifically  with  Katrina,  for  which 
Buirski  is  still  accepting  submissions. 
"It's  time  for  film  to  address  the  subject 
[of  class],"  says  Buirski.  "People  tend  to 
think  of  class  systems  as  archaic,  they 
think  of  far-off  places  and  castes,  but 
class  systems  are  just  as  present  here. 
This  is  why  we  believe  in  documentary, 
we  believe  in  its  power  to  bear  witness  to 
society." 

Film  Your  Issue  Begins  Round  Two 

It  was  one  of  those  "what  if"  scenar- 
ios spun  over  lunch  with  a  friend,  one 
that  usually  gets  cleared  away  with  the 
plates,  but  when  you're  HeathCliff 
Rothman  and  your  lunch  partner  is  an 
animation  executive  at  Disney,  things 
tend  to  go  a  little  differently.  The  idea 
behind  Film  Your  Issue  came  while  they 
were  discussing  the  possibility  of  pro- 
ducing short  films  to  inspire  youth  to 
get  out  and  vote  in  the  2004  election: 
What  if  you  were  able  to  have  the  peo- 


ple you're  trying  to  reach  make  their 
own  films?  In  other  words  and  in  the 
finest  of  cinematic  traditions:  "Hey  kids, 
let's  put  on  a  show!" 

What  resulted  is  an  extremely  ambi- 
tious competition,  an  opportunity  for 
seven  million  college  students  to  find  a 
voice  and  have  it  be  heard.  The  objective 
is  to  encourage  students  between  the 
ages  of  18  and  25  to  make  a  30-to  60- 
second  film  on  an  issue  affecting  their 
lives.  Entries  are  judged  by  a  VIP  jury 
and  voted  for  online;  finalists  have  their 
films  posted  on  www.msn.com  and  the 
winning  entry  is  broadcast  on  MTV. 
The  winning  filmmaker  also  receives  a 
paid  internship  at  Paramount  Pictures. 

Round  one  of  the  competition  drew 
100  submissions  last  year,  and  although 
Rothman  is  happy  with  those  results,  he 
sees  room  for  improvement  and  believes 
he  will  see  a  considerable  increase  in  the 
number  of  entries  for  round  two,  which 
will  open  January  1,  2006  and  close  in 
the  late  spring.  His  belief  is  well  found- 


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636  BROADWAY,  NYC 


ed,  he  recently  added  MTV  to  his  dream 
team  of  backers  in  place  since  round 
one — Microsoft  Corporation,  which 
will  promote  FYI  on  the  MSN  and 
MSNBC  websites,  and  Paramount.  VIP 
judges  will  include  writers  from  the  New 
York  Times,  Newsweek,  the  Washington 
Post,  and  the  Advisory  Think  Tank, 
which  is  chockfull  of  representatives 
from  companies  like  Dreamworks  and 
Disney.  "There's  very  little  downside  for 
[the  backers],"  Rothman  says.  "And  peo- 
ple are  much  more  willing  to  get  on 
board  if  it's  a  philanthropic  cause." 

To  that  end,  FYI  is  adding  a  subcate- 
gory to  Round  Two,  which  will  encour- 
age students  to  make  a  film  that  address- 
es one  of  the  eight  Millennium 
Development  Goals  the  United  Nations 
set  to  be  reached  by  2015  (eradicating 
extreme  hunger  and  ensuring  global  sus- 
tainability  among  them),  with  the  win- 
ning film  to  be  screened  at  UN 
Headquarters  in  New  York.  Rothman 
says  they  are  still  shaping  the  criteria  for 
other  entries,  though  ideally  students 
would  be  encouraged  "to  be  as  unzipped 
as  possible:  I  want  arguments!  I  want 
indignation!"  There  may  be  a  fine  line 
between  "unzipped"  and  "untenable," 
given  the  sponsors  involved,  but 
Rothman  isn't  too  worried.  "We're  inter- 
ested to  see  what  young  people  are 
thinking  about,  and  it's  such  a  surprise," 
he  says,  citing  that  the  first  FYI  submis- 
sion he  saw  was  an  argument  against  gay 
marriage.  "By  making  a  film,  they  have 
to  engage  their  issue  through  story- 
telling. They  have  to  think  it  through  a 
bit  more." 

The  biggest  challenge  this  year  may  in 
tact  be  figuring  out  how  to  handle  the 
number  of  submissions  they  receive. 
"Response  has  been  snowballing,"  says 
Rothman.  "We're  thinking  about  a  con- 
tingency plan  to  handle,  say,  5000 
entries  instead  of  100." 

Pennebaker  and  Hegedus  awarded 
IDA's  Career  Achievement  Award 

Christmas  came  early  this  year  for 
husband  and  wife  team  DA  Pennebaker 
and  Chris  Hegedus — December  9th  to 
be  exact.  On  that  day  the  illustrious 
couple  became  an  official  institution  in 


the  documentary  world  when  the 
International  Documentary  Association 
granted  them  the  Career  Achievement 
Award.  They  join  a  pantheon  of 
previous  recipients  including  Marcel 
Ophiils,  Frederick  Wiseman,  and  Sir 
David  Attenborough  among  others.  The 
honor  was  presented  at  the  21st  Annual 
IDA  Distinguished  Documentary 
Achievement  Awards  Benefit  Gala  in  Los 
Angeles. 

With  over  50  films  between  them, 
Pennebaker,  who  turns  80  this  year,  and 
Hegedus  began  working  together  in  the 
mid-70s  after  they  met  in  New  York. 
Their  collaborations  include  Town 
Bloody  Hall  (1979),  the  infamous 
women's  lib  smackdown  between 
Norman  Mailer  and  Germaine  Greer, 
DeLorean  (1981),  a  profile  of  the  Italian 
automobile  magnate,  and  The  War  Room, 
an  all-access  pass  to  the1 1992  presidential 
campaign  of  Bill  Clinton,  which  earned 
the  couple  an  Oscar  nomination. 

"D.A.  Pennebaker  and  Chris  Hegedus 
richly  deserve  this  recognition  trom  their 
peers,"  says  IDA  Executive  Director 
Sandra  Ruch  in  a  recent  statement. 
"They  are  principled,  dedicated  and  tal- 
ented storytellers  whose  films  have  made 
a  positive  difference  in  our  world." 

IDA  President  Richard  Propper  calls 
the  duo  "a  source  of  inspiration  for  the 
next  generation  of  nonfiction  filmmak- 
ers." They  might  also  be  an  inspiration 
for  his  and  hers  creative  partnerships. 
Married  since  1982,  they  are  currently 
working  on  a  film  about  cuddly 
blowhard,  liberal  poster-boy  Al  Franken 
and  were  thrilled  at  the  news  of  IDA's 
honor.  "Making  films  is  difficult,"  says 
Pennebaker.  "A  good  film  can  take  more 
than  a  year  and  require  a  lot  of  strug- 
gling. You  reel  like  you're  wrestling  an 
800-pound  bear.  So  you  want  people  to 
see  your  films,  and  the  IDA  is  helpful 
that  way." 

"The  IDA  has  created  a  wonderful  com- 
munity in  which  documentary  filmmakers 
can  celebrate  each  other's  hard  work  and 
labors  of  love,"  Hegedus  says.  "They 
spread  the  word  that  documentaries  are 
interesting  and  entertaining  and  valuable 
and  thought-provoking."     "k 


14  The  Independent  |  December  2005 


HIGHER  VISIONS 


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Buffy  the 

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Macromedia  has  done  it  again.  The 
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Word  processing  has  come  a  long  way 
in  the  past  20  years,  but  something  as 
simple  as  creating  columns  or  other 
essentials  can  still  be  maddening  for  a 
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Everything  else  is  going  virtual, 
why  not  all  your  film  files,  too? 
With  Streamload  MediaMax,  a  new 
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trally store,  organize,  access,  and 
share  your  entire  media  collection 
with  other  MediaMax  users  world- 
wide. Touted  as  the  largest  media 
center  of  its  kind,  the  Streamload 
MediaMax  lets  you  share  home 
videos,  photos  in  full-quality  origi- 
nal formats,  music,  TV  shows,  and 
movie  recordings.  But  lest  you  think 
this  will  only  make  the  hacker's  life 
easier  and  thus  your  files  less  secure, 
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16  The  Independent  |  December  2005 


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Documentary  critic  &  historian.  Director,  Center  for 
Social  Media  Board  of  Directors,  ITVS. 

Randall  Blair 

Producer/director,  Screenings  at  Sundance,  Tellunde 
and  broadcast  on  US  public  television  and  in  Europe 

Larry  Engel 

Producer,  director,  cinematographer,  writer  Emmy 
winner,  Tellunde  Mountain  Spirit  Award,  work  shown 
on  National  Geographic.  Discovery,  History  Channel, 
TBS,  PBS,  Disney. 

Bill  Gentile 

Photoiournalist,  director.  Two-time  Emmy  winner. 
Covered  conflicts  globally  for  Nightlme,  Now, 
Newsweek 


Documentary  @ 
American 

It's  hard  to  match  our  faculty's  depth  and  range. 


Charlene  Gilbert 

Producer/Director,  PBS  specials  ITVS  funding 
SILVERD0CS  premiere.  Screenings  at  Museum  of 
Modern  Art  and  Kennedy  Center  Fellowships 
Harvard  Bunting  and  Rockefeller  Media  Arts. 

Gary  Griffin 

Cinematographer.  Winner,  Best  Documentary 
Cinematography,  Sundance,  2005.  Cinematographer 
for  Oscar-winning  and  Oscar-nominated  documenta- 
ries. Work  shown  on  HBO,  CNN,  PBS,  ABC,  A&E 

Leena  Jayaswal 

Photographer/video  artist.  Exhibitions  at  Arthur 
M  Sackler  Gallery;  the  Washington  Project  for  the 
Arts/Corcoran  Gallery  of  Art. 

Larry  Kirkman 

Executive  Producer/Producer,  Documentaries  and 
public  affairs  specials  for  public  television,  NEA  and 
CPB  funding.  Juror.  SILVERD0CS,  2003 


full-time,  part-time,  weekend  master's,  summer  institute 


Brigid  Maher 

Director,  editor,  digital  media  designer. 
Fulbnght  Scholar,  Lebanon. 

Chris  Palmer 

Producer.  Director,  Center  for  Environmental 
Filmmaking  Two-time  Emmy  winner;  Oscar 
nominee.  Kennedy  Scholar,  Harvard.  Producer 
of  IMAX  films 

Rick  Rockwell 

Producer.  Films  shown  on  local  public  and 
commercial  television.  Awards  from  AP,  UPI. 
SPJ,  RTNDA 

Margaret  Burnette  Stogner 

Producer,  director,  writer.  Senior  producer, 
National  Geographies  Explorer  and  Ultimate 
Explorer.  Winner,  Nicholl  Screenwritmg 
Fellowship. 


www.soc.american.edu 


December  2005  |  The  Independent     17 


on  DVD 

Reviews  of  films  now  available  on  DVD 


THE  STAIRCASE 

Honestly,  I  didn't  plan  on  watching  all 
seven  hours  of  The  Staircase,  certainly  not 
in  a  row... until  3  am.  But  this  riveting 
series,  which  was  shown  one  episode  at  a 
time  on  the  Sundance  Channel,  is  hard  to 
turn  oh,  and  hard  to  forget.  Director  Jean- 
Xavier  de  Lestrade,  who  also  directed  the 
excellent  Oscar-winning  Murder  on  a 
Sunday  Morning  (2001),  has  made  a 
thrilling  drama  out  of  a  true  story: 
Michael  Peterson  was  accused  of  killing 
his  wife  Kathleen  one  evening  after  the 
couple  drank  too  much  wine,  and  shortly 
after  Kathleen  found  a  love-email  horn  her 
husband  to  a  gay  man.  Over  the  next  eight 
episodes,  as  a  high-powered  New  York 
defense  attorney  and  his  team  dissect  and 
present  the  case,  we  get  to  evaluate  all  the 
evidence  (which  direction  was  the  blood 
splattered?),  hear  all  the  possible  scenarios, 
and  spend  intimate  time  with  the  couple's 
children  and  stepchildren — all  of  whom 
have  different  opinions  about  what  really 
happened.  The  verdict  is  unpredictable 
(and  surprising)  up  until  the  final  court- 
room scene,  but  it's  really  the  brilliantly 
crafted  expose  of  one  complicated  man's 
life  and  mind  that  makes  this  film  so  com- 
pelling, www.sundancechannelhomeen 
tertainment.com. 


RATED  R:  REPUBLICANS  IN 
HOLLYWOOD 

In  this  relatively  fair,  if  occasionally 
tedious,  documentary,  former  democratic 
speechwriter  Jesse  Moss  argues  that  not 
even  Hollywood — largely  perceived  as  a 
left-leaning  industry — has  escaped  the 
current  conservative  tidal  wave.  Arnold's 
campaign  for  governor  is  one  convincing 
example,  but  we  already  know  the  out- 
come and  the  repercussions  of  that  race 
which  kind  of  kills  the  suspense.  Plus, 
Moss  allows  the  former  Terminator  too 
much  air  time.  Interviews  with  Ben  Stein, 
Drew  Carey,  Pat  Sajak,  and  "the  shockingly 
Republican"  Vincent  Callo  (whose  affilia- 
tion has  gotten  him  way  too  much  attention 
already)  are  sometimes  funny,  sometimes 
predictable.  But  outspoken  actors  having 
something  to  say  isn't  exactly  news,  or  really 
all  that  entertaining,  www.docurama.com. 

RESIDENT  ALIEN 

"Maladjustment  in  retreat,  in  the  face 
of  oppression"  is  how  one  sociologist 
explains  the  late  Quentin  Crisp,  an 
authentically  and  flamboyantly  eccentric 
writer/performer/gay  rights  activist  who 
died  in  1999.  After  73  years  in  England, 
Crisp  came  to  New  York  hoping  to  find 
the  beautiful  and  rich  Americans  he'd 
admired     in     movies.     As     filmmaker 


Jonathan  Nossiter  {Mondovino,  2004, 
Sunday,  1997,  Signs  &  Wonders,  2000) 
tries  to  illustrate  with  long  scenes  of  Crisp 
walking  and  talking  with  various  friends 
and  celebrities  through  Manhattan's 
streets,  Crisp  loved  and  became  beloved  in 
New  York  City  during  his  last  decade. 
Nossiter's  portrait  allows  us  to  see  why  so 
many  artists,  eccentrics,  and  members  of 
the  Cay  and  Lesbian  Center  found  him 
appealing:  the  effeminate  oddball  was  a 
precious  novelty  and  a  professional  weirdo 
with  his  blue  eye  shadow  and  white  poufy 
hair — more  of  a  comb-up  than  a  comb- 
over,  and  ironic  since  he  lived  in  a  dump.  As 
The  Village  Voice's  Michael  Musto  puts  it: 
"He  was  good  TV."  www.docurama.com. 

FLIGHT  FROM  DEATH:  THE 
QUEST  FOR  IMMORTALITY 

Gabriel  Byrne's  soothing,  intelligent 
voice  asking,  "What  are  we  to  do  with 
death,  and  why  should  we  fear  it?"  is  a 
powerful  hook.  The  tone  is  conspiratorial, 
and  the  issue  couldn't  be  more  provocative 
or  universally  intriguing.  A  series  of  inter- 
views with  authors,  academics  and  psychi- 
atrists promise  a  satisfying  film.  But  some- 
where along  the  way,  this  deeply  dramatic 
doc  starts  to  feel  frantic  and  unorganized. 
While  the  history  of  the  ways  in  which 
humans  have  considered,  conceptualized, 


18  The  Independent  |  December  2005 


and  reacted  to  their  own  mortality  is 
invariably  an  interesting  discussion,  there 
are  too  many  attempted  answers  crammed 
into  a  small  space,  and  each  seems  desper- 
ately illustrated  with  a  relevant  visual.  The 
result  is  an  overload  or  ideas  and  images, 
many  of  them  powerful,  but  which  on  the 
whole  don't  really  form  a  coherent  train  of 


thought.  The  best  thread  is  the  case  of  one 
woman  who  is  dying  of  breast  cancer — 
her  thoughtful,  emotional,  idiosyncratic 
consideration  of  her  own  situation  illumi- 
nates the  lack  of  those  qualities  in  the  rest 
of  the  film,  www.flightfromdeath.com 

THE  BROOKLYN  CONNECTION: 
HOW  TO  BUILD  A  GUERRILLA 
ARMY 

This  frightening  examination  of  global 
politics  tells  the  true  story  of  Florin 
Krasniqi,  a  roofer  in  Bay  Ridge,  Brooklyn, 
who  armed  the  Kosovo  Liberation  Army 
(the  bin  Laden-trained,  Iran-backed  narco- 
terrorists  whose  1999  jihad  against  the 
Christian  Serbs  we  helped  fight)  by  trans- 
porting guns  from  the  US  to  Kosovo.  Dutch 
filmmaker  Klaartje  Quirijns  based  the  film, 
which  aired  on  PBS  and  won  Special  Jury 
Prize  at  the  Human  Rights  International 
Film  Festival,  on  Stacy  Sullivan's  book  Be 
Not  Afraid,  For  You  Have  Sons  in  America. 
It's  an  important  history  lesson  about  the 
US's  unwilling  participation  in  the  Balkan 
conflict,  with  many  great  scenes  like  the  one 
of  Krasniqi  writing  checks  at  a  2003  John 
Kerry  fundraiser.  It's  also  a  good  example  of 
a  political  documentary's  potential  to  affect 
change:  Quirijns  says  her  film  inspired  the 
Department  of  Homeland  Security  to 
launch  an  investigation  into  Krasniqi. 
www.docurama.com. 


She^UfJJorkSimcs 

tfsT  DM) 

Jost  Miusul 


RECtMMeNML*  •*  m  f  '*"  CRITICS 
§f  rue new  yw  rimes 

tiiU  ^  PIUR  At.  NICHOLS 
Wii<l4.  JnU'iufan  iy  A.  0.  SCoTT 


The  Best  DVDs  You've  Never  Seen, 
Just  Missed  or  Almost  Forgotten,  Edited 
by  Peter  M.  Nichols,  St.  Martin's 
Griffen,  2005 

In  A.O.  Scott's  introduction  to  The  Best 
DVDs  You've  Never  Seen,  Just  Missed  or 
Almost  Forgotten,  the  well-known  New 
York  Times  critic  suggests  that  DVD-view- 
ers are  now  caught  in  a  dilemma  not 
unlike  Hamlet's:  immobilized  by  the 
seemingly  infinite  pool  of  possibilities 
(thanks  to  Netflix)  and  too  overwhelmed 
to  make  a  decision.  The  list  that  follows — 
over  500  films  that  the  Times's  editors 
praised  in  previous  reviews — is  an  attempt 
to  help  us  angst  a  little  less.  Although 
every  list  is  subjective  and  somewhat  ran- 
dom, this  one,  edited  by  the  former  Times 
DVD  reviewer  Peter  M.  Nichols,  at  least 
assumes  our  knowledge  of  the  classics  and 
the  blockbusters,  highlighting  instead  a 
more  obscure  range  of  films  that  may  not 
have  reached  our  radar.  The  list  is  a  good 
mix  of  decades  and  genres — from  little 
known  docs  to  mainstream  comedies — 
and  includes  TV  shows  and  miniseries  like 
"The  Office"  and  Angels  in  America.  Each 
film  gets  about  a  page  description  careful- 
ly written  without  any  spoilers,  and 
though  the  alphabetized  selections  are  not 
ranked,  they  are  neatly  categorized  into 
genres  in  the  back  of  the  book.  It's  a  useful 
tool  to  navigate  the  excess — as  well  as  a 
fun  read.  It's  also  kind  of  refreshing  to  hear 
the  usually  cynical  Times  critics  say  some 
kind  things  about  film  for  a  change.  "& 


Filmmakers  have 
the  same  freedom 
novelists  have 
with  sheets  of 
blank  paper  in 
front  of  them, 
or  musicians  have 
with  an  instrument 
in  their  hands. 


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&  TELEVISION 


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December  2005  |  The  Independent     19 


FIRST  PERSON 


Is  Documentary  the  New 

Memoir: 


A  sociologist's  view 
from  the  couch 


By  Christopher  Bonastia 

I  am  a  sociologist  who  conducts  histori- 
cal research  on  race  and  social  policy, 
so  my  work  has  something  in  common 
with  a  documentary  filmmakers  attempt 
to  uncover  some  version  of  "the  truth" 
(however  defined).  Maybe  this  is  just  my 
sociological  training  leaking  out,  but 
when  I  watch  a  documentary — especially 
a  highly  personal,  idiosyncratic  one — I 
want  to  see  the  bigger  picture  as  well. 
What  is  the  larger  social  context  in  which 


a. 


the  story  unfolds?  Does  the  story  tell  me 
something  about  anyone  or  anything 
other  than  you?  If  not,  you  had  better  be 
pretty  damn  fascinating.  And  that  does 
happen  sometimes.  But  there  appear  to 
be  a  growing  number  of  documentaries 
that  come  off  more  as  exercises  in  self- 
help  than  as  expressions  of  artistic  vision 
with  the  intention  of  connecting  with  an 
audience. 

Jonathan    Caouette's    critical    darling 


20  The  Independent  |   December  2005 


Tarnation  (2003)  is  a  prime  example  of 
documentary  as  self-help  or,  more  point- 
edly, catharsis  for  the  filmmaker. 
Caouette  leaves  no  grisly  detail  of  his  life 
unexposed,  using  original,  found,  and 
staged,  audio  and  visual  sources.  I  was 
astounded  to  learn  that  the  final  cut  of 
one  hour  and  twenty-five  minutes  is  less 
than  half  the  length  of  the  original.  If  the 
footage  of  his  boyfriend  making  snow 
angels  survived,  one  can  only  imagine 
what  was  edited  out.  (I  guess  we'll  find 
out  when  Tarnation  2  is  released.) 

I  agree  with  much  of  the  praise  heaped 
upon  Tarnation — it  is  stunningly  self- 
indulgent,  yes,  yet  undeniably  original  in 
concept  and  execution.  The  content  of 
the  film  is  disturbing,  rife  with  allega- 
tions of  child  abuse,  the  debilitating 
effects  of  unnecessary  shock  treatments, 
and  other  tragedies,  small  and  large.  But 
what  really  scares  me  is  the  potential 
impact  of  Tarnation  on  future  "self-help" 
films  without  equally  powerful  and 
skilled  storytelling.  Beware  of  imitators 
who  feel  empowered  by  Caouette.  We  are 
likely  to  witness  the  Led  Zeppelin 
effect — a  band  that  spawned  countless 
horrible  copycats  who  lacked  the  distinc- 
tive banshee  screech  and  prodigious  chest 
hair  of  Robert  Plant,  and  the  memorably 
crunchy  guitar  riffs  of  Jimmy  Page. 

Several  recent  documentary  releases 
are  by  no  means  horrible  films  or  even 
Tarnation  imitations,  but  they  do  certain- 


ly highlight  the  cringe  potential  in  self- 
help  documentaries.  Nathaniel  Kahn's 
My  Architect:  A  Son's  Journey  (2003)  doc- 
uments the  filmmakers  quest  to  under- 
stand his  father,  Louis  Kahn  (who  died  in 
1974),  a  brilliant  building  designer  who 
juggled  three  families  in  secrecy. 
Nathaniel  only  met  his  father  a  handful 
of  times  throughout  his  childhood. 

In  Architect,  we  get  to  see  people  in 
Bangladesh  marvel  at  the  building  Kahn 
designed.  This  is  interesting.  What  is  not 
so  interesting  is  Nathaniels  face  reflected 
in  the  microfilm  he  is  reading,  or 
Nathaniel  watching  an  interview  with 
Kahn's  wife.  We  don't  need  to  see  numer- 
ous shots  of  Nathaniel  holding  his  cam- 
era, gazing  wistfully.  This  sort  of  literal 
self-reflection  is  no  less  heavy-handed 
than  the  metaphorical  kind — to  wit, 
Nathaniel  rollerblading  in  pirouettes  on 
the  grounds  of  a  building  his  father 
designed.  When  I  asked  two  film-buff 
friends  of  mine  if  they  had  seen  the  film, 
they  both  immediately  mentioned  the 
hokey  transparency  behind  this  particular 
scene,  which  somehow  manages  to  come 
off  as  both  an  incredibly  private  moment 
that  should  stay  that  way,  and  a  remark- 
ably contrived,  made-for-film  means  to 
manipulate.  The  purpose  of  therapy,  as  I 
understand  it,  is  to  unravel  the  emotions 
and  experiences  inside  you,  unedited,  so 
you  can  process  them.  When  you  seek  an 
audience  of  more   than   your  therapist. 


Do  you  want  an 

attorney  who 

watches  movies, 

or  an  attorney  who 

makes  them? 


It's  4  AM . . .  you're  worrying  if 
the  script  is  tight  enough... 
if  your  casting  director  can  find 
a  last-minute  replacement.... 
if  you've  violated  any  SAG 
rules...  if  you  have  enough  cash. 

Been  there,  done  that. 

Mark  Costello,  Esq. 

Wrote,  produced  and  sold  a 
feature  length  comedy. 

Film  production  counsel  to 
independent  filmmakers. 

Municipal  counsel  on 
Woodstock  '99. 

Member  of  the  Executive 
Committee  of  Entertainment, 
Arts  and  Sports  Law 
Attorneys. 

m  BQ  Boylan.  Brown, 
■<  Code,  Vigdor  &  Wilson,  llp 

I  ATTORNEYS  AT  LAW 

Office  (585)  232-5300 

Fax  (585)  238-9055 
mac@boylanbrown.com 


December  2005  |  The  Independent    21 


1 


Don't  let  your  script  end  like  this. 


go,  independent  and  become 

a  member  of  AIVF,  the  Association  of 

Independent  Video  and  Filmmakers. 

By  joining  AIVF  you  can  enjoy  benefits 

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plus  a  whole  lot  more 

visit  us  at  www.aivf.org 


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'"    in  i  native  action/equal  opportunity  institution 


some  editing  is  required  to  turn  your 
experiences  into  an  actual  narrative. 

Another  documentary,  Spit  It  Out 
(2004),  a  little-known  (and  probably  less- 
er-seen) film  by  Jeff  Shames  about  his 
lifelong  struggle  with  stuttering,  comes  to 
mind.  Shames  vaguely  links  his  stutter- 
ing, a  topic  that  has  personal  resonance 
for  me  as  I  have  also  stuttered  throughout 
my  life,  to  mistreatment  he  experienced 
by  his  father.  We  are  never  told  that  the 
causes  of  stuttering  are  still  poorly  under- 
stood, although  most  research  points  to 
biological,  not  social,  factors.  1  suppose 
its  hard  to  get  a  good,  made-for-docu- 
mentary  cry  when  you're  talking  about 
genetics. 

This  trend  of  obsessive  self-documen- 
tation goes  beyond  the  film  world.  In  the 
past  several  years  a  flood  of  memoirs,  in 
many  ways  the  literary  counterpart  to 
docs,  have  hit  the  shelves  chock-full  of 
resolute  self-involvement.  Perhaps  the 
most  striking  recent  example  of  this  sort 
of  memoir  is  Koren  Zailckas'  Smashed: 
The  Story  of  a  Drunken  Girlhood  (2005), 
documenting  the  hard-drinking  (but  not 
alcoholic)  life  of  a  23-year-old  woman 
who  did  some  dumb  (but  not  tragic)  stuff 
when  she  drank  a  lot.  Zailckas  certainly 


22  The  Independent  |  December  2005 


STORY  OF  A  DRUNKEN  GIRLHOOD        KOREN  ZAILCKAS 


smashed 


i 


** 


shows  some  potential  as  a  writer.  To  enjoy 
it,  however,  the  reader  has  to  plough 
through  some  passages  that  shouldn't 
have  left  her  journal.  Recalling  one  of  her 
first  experiences  with  alcohol,  Zailckas 
writes:  "I... know  what  Columbus  must 
have  felt  when  he  washed  up  on  the 
American  shore.  Drinking  has  always 
been,  but  it's  a  New  World  to  me.  It's 
been  waiting  for  me  to  discover  it."  And, 
like  Columbus  did  with  America, 
promptly  proceeds  to  strip  away  all  that's 
good  about  drinking  and  make  it  into 
kind  of  a  bummer.  But  1  digress. 

Why  now? 

We  can  hardly  blame  people  for  want- 
ing to  immortalize  their  lives  or  at  least 
add  the  sheen  of  credibility  to  their  per- 
sonal stories  by  turning  their  experiences 
into  cultural  products.  But  why  are  com- 
panies selling  so  much  of  this  stuff,  and 
consumers  buying  these  exercises  in 
solipsism?  Self-involvement  is,  of  course, 
nothing  new.  In  the  film  world,  probably 
the  biggest  factor  is  the  increase  in  cheap 
do-it-yourself  technology  that  allows 
almost  anyone   to   document   the   most 


microscopic  details  of  their  existence  and 
make  them  available  to  the  larger  public. 
There  is  a  lot  of  good  in  this.  Caouette's 
ability  to  record  large  chunks  of  his  life 
and  edit  them  into  a  real  film  on  his 
home  computer,  at  very  little  cost,  would 
not  have  been  possible  30  years  ago. 
When  I  first  started  recording  music,  I 
couldn't  release  an  album  until  I  con- 
vinced someone  to  foot  the  bill  to  master 
my  digital  audiotape  and  press  up  a  stack 
of  records  (club  deejays  didn't  play  CD's 
then).  Now  I  can  burn  a  CD  with  decent 
packaging  for  the  cost  of  a  pack  of  gum. 
Even  if  only  a  few  friends  and  my  four- 
month-old  son  hear  it,  it  looks  real,  and  I 
can  say  I  have  a  new  album  out. 

I  guess  I  shouldn't  be  surprised  that 
people  think  their  creations  merit  shar- 
ing, since  I  am  guilty  of  this  as  well. 
Cheap  technology  has  made  it  possible  to 
bypass  the  traditional  gatekeepers  of  cul- 
ture: book  publishers,  film  producers, 
record  labels,  and  so  on.  Perhaps  even 
more  interesting  are  the  things  these  tra- 
ditional gatekeepers  have  discovered.  The 
big  benefit  to  the  not-yet-famous  is  that 
they  are  much  cheaper  to  hire.  You  can 


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December  2005  |  The  Independent    23 


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the  highly  accomplished  faculty  mentors,  intensely  hands-on 
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Learn  more.  Call  us.  Visit  us  online. 


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make  almost  anyone  look  and  sound 
good  (helpful  in  manufacturing  record- 
ing stars).  Just  as  important,  you  can 
make  almost  anyone  look  completely 
ridiculous,  crazy  or  pathetic  (helpful  in 
producing  reality  shows). 

What's  the  harm? 

Sometimes  self-serving,  sometimes 
self-incriminating,  and  sometimes  both, 
the  problem  with  self-help  documen- 
taries is  the  collateral  damage,  as  once 
again,  Tarnation  illustrates  vividly.  When 
Caouette  asks  his  mother,  clearly  some- 
what debilitated  from  a  recent  lithium 
overdose,  some  highly  painful  questions, 
she  protests:  "We  don't  need  it  on  film." 
His  disagreement  courses  through 
Tarnation,  as  he  ensnares  other  family 
members  in  his  therapeutic  exercise, 
despite  their  objections.  Given  their 
mental  states,  his  mother  and  grandpar- 
ents arguably  could  not  have  given  their 
consent  to  be  included  in  the  film. 

A  second  problem  with  these  kinds  of 
films  is  the  message  they  send  along  with 
the  rest  of  our  therapeutic  culture: 
Namely,  that  the  problems  of  the  world 
can  be  solved  merely  by  navel-gazing,  not 
through  engagement  with  the  world, 
helping  others,  and  digging  deeper. 
Perhaps  the  biggest  problem  is  that  the 
urge  to  share  your  every  musing  with  the 
world  is  contagious.  I  now  feel  compelled 
to  exhume  moments  from  my  life  that  I 
previously  thought  were  merely  absurd  or 
funny  to  me,  but  that  1  realize  are  worthy 
of  widespread  recognition. 

High  school,  1984,  Jersey  suburbs,  a 
late  spring  night  with  a  hint  of  summer 
steam,  bullshitting  with  my  best  friend 
Pigro  in  his  moms  Toyota  station  wagon, 
basking  in  the  delusion  of  profundity 
stoked  by  the  Garden  State's  finest  pot. 
Ahead  of  our  time,  as  usual,  we  saw  the 
attraction  of  self-documentation — 
recording  our  teenage  rantings  sure  made 
the  safe,  boring  world  of  north  Jersey  feel 
more  dramatic.  In  doing  so,  we  also 
stumbled  upon  one  of  the  troubling 
dilemmas  of  this  whole  endeavor: 

"Imagine  if  you  taped  your  whole  life." 
"But  when  would  you  watch  it?" 
Two   decades   later,   the  question   has 
become:  "How  would  you  get  a  bunch  of 
other  people  to  watch  it?"     ^r 


24  The  Independent  |  December  2005 


the  Documentary  Doctor 


By  Fernanda  Rossi 

Dear  Doc  Doctor: 

I've  been  asked  for  a  business  plan 
for  my  documentary.  I  thought  those 
types  of  things  were  only  for  fiction 
films.  Do  I  really  need  to  write  one? 

Documentary  makers  are  finally  seeing 
the  effects  of  the  recent  growth  of  the 
documentary  market.  It's  a  unique 
moment  in  history.  Similar  to  independ- 
ent fiction  films  over  the  last  30  years, 
docs  have  climbed  the  distribution  and 
exhibition  ladders  and  their  current  box 
office  success  is  a  hard-earned  blessing — 
but  one  that  means  they  now  have  to  step 
up  to  certain  business  demands. 

"The  continuing  success  of  documen- 
taries at  the  theatrical  box  office — most 
recently  of  March  of  the  Penguins,  which 
is  now  the  second  highest  grossing  docu- 
mentary of  all  time  with  $70  million — 
has  shifted  the  perceptions  and  expecta- 
tions of  those  who  invest  in  independent 
films,"  says  Reed  Martin,  the  author  of 
numerous  business  plans  and  a  professor 
of  film  marketing  at  New  York 
University's  Stern  School  of  Business. 
"Years  ago  they  might  have  donated 
money  to  support  the  cause  or  'invested' 
with  little  hope  of  ever  seeing  a  return. 
However,  today,  documentaries  are 
increasingly    seen    as    potentially   viable 


investments  and  because  there  is  the 
potential  of  significant  profits,  investors 
increasingly  want  to  see  projected  rev- 
enues listed  in  formal  business  plans." 

The  good  news  is  that  the  rise  in  pop- 
ularity of  documentaries  isn't  a  passing 
fad.  The  downside,  having  to  write  a 
business  plan,  is  not  as  bad  as  you  might 
think,  especially  if  it  means  your  pool  of 
potential  investors  and  their  respective 
investments  will  increase.  And  if  you 
have  ever  applied  for  a  grant,  you  already 
know  quite  a  bit  about  business  plans. 
Louise  Levison,  business  plan  consultant 


and  author  of  Filmmakers  and  Financing: 
Business  Plans  for  Independents,  says,  "The 
business  plan  format  for  a  doc —  exec 
summary,  company,  synopsis,  industry, 
target  markets,  distribution,  financial 
analysis — is  the  same  as  for  any  other 
film  and  similar  to  much  of  the  informa- 
tion that  you  need  for  a  grant  request. 
Whereas  one  prospectus  (including  an 
investment  memorandum)  can  go  to  as 
many  investors  as  you  like,  the  grant 
request  has  to  be  tailored  specifically  and 
separately  for  each  granting  source." 

The  prospectus's  comparative  financial 
analysis  can  be  a  bit  of  challenge  because 
there  aren't  yet  a  lot  of  documentaries 
with  theatrical  releases  to  use  as  a  com- 
parison. But  as  more  and  more  docu- 
mentaries hit  theaters,  even  this  aspect  of 
the  plan  will  seem  simple. 


Dear  Doc  Doctor: 

I  did  quite  well  with  my  previous 
documentary,  and  now  I'm  being 
offered  a  lot  of  projects.  I  already  know 
what  my  next  documentary  will  be, 
but  I  don't  want  to  burn  bridges  with 
those  who  had  such  high  expectations 
about  working  with  me.  What's  the 
best  way  to  decline  their  offers? 

Spotlights  can  be  blinding,  and  I  com- 
mend you  for  having  kept  your  focus  in 
the  myriad  of  tempting  options.  Even 
more  kudos  to  you  for  wanting  to  figure 


December  2005  |  The  Independent    25 


New  Year's  resolutions 
not  quite  working  out? 


Then  try  the  AIVF  Resolution: 


1 .  Tell  someone  about  AIVF 

2.  Buy  a  membership  tor  a  filmmaker  friend 

3.  Donate  to  AIVF 

Please  remember  us  as  the  year  <  omes 
lo  ,i  close  and  think  about  a  few  things 
that  you  <  *in  il»  tor  AIVF. 


How  would  you  like  to  be  remembered? 

$25  Friend  ■  $75  Filmmaker  ■  Slot)  Producei 

hibitoi  •  $500  Distributor  ■  J  000  Media  Mogul 


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Donation  Manager,  Aivr,  104  Hudson  Street,  6th  Floor,  NY,  \Y  10013 


AVF 


association  o*  independent 
video  and  filmmakers      ] 


Our  9th  annual  "Mag"  welcomes 
all  genres,  all  lengths,  in  competition 
for  awards.  The  "Mag"  was  founded 
by  Ron  Tibbett  to  celebrate  his  vision 
of  Independent  film  in  Mississippi.  It 
has  been  called  the  most  filmmaker 
friendly  festival  by  many  of  our  past 
contributors.  Entry  fees  are  $25  feature, 
$15  shorts  and  $10  student  film.  We 
are  proud  partners  with  Rhode  Island 
International  Film  Festival,  Tupelo 
Film  Festival,  Crossroads  Film  Festival 
and  Indie  Memphis. 

Congrats  to  all  2005  Mag  winners  including  Aruna  Naimji's  "One  Balloon", 
E.S.  Wochensky's  "Shoot  the  Moon",  Joe  Scott's  "Ocean  Front  Property" 
and  Joel  Fendelman's  "Tuesday". 

We  look  forward  to  seeing  you  down  in  the  deep  South. 

Entry  Forms:  Download  at  www.magfilmfest.com 
or  write  to:  Festival  Director 

2269  Waverly  Drive 

West  Point,  MS  39773 


Phone:  (662)  494-5836 
Fax: (662)  494-9900 


out  how  to  decline  involvement  in  a 
respectful,  friendly  way.  Success  in  the 
film  business  often  involves  knowing 
how  to  handle  these  small  details.  Surely 
you  have  been  turned  down  many  times, 
but  we  rarely  realize  that  we  have  our 
own  share  of  nos  to  deliver.  We  tend  to 
say  no  the  way  it  was  said  to  us,  thereby 
perpetuating  a  cycle  of  bad  etiquette. 

Let's  start  by  mentioning  what  not  to 
do.  Not  returning  phone  calls  is  the  worst 
possible  option,  yet  the  most  common 
one.  Some  might  think  being  unavailable 
is  a  sign  of  their  importance,  power,  or  a 
tight  schedule.  For  me,  it  shows  a  lack  of 
time-management  skills,  combined  with 
cowardice.  Whether  it  is  a  prospective 
DP,  editor,  or  filmmakers  proposal  sit- 
ting on  your  desk,  answer  their  calls. 
After  all,  they  talked  to  you  when  you 
requested  it. 

The  next  no-no  is  drawing  a  blank  face 
or  giving  a  half-hearted  compliment  such 
as  "Good,  looks  good!"  followed  by  a 
change  of  topic.  Not  as  bad  but  equally 
non-conducive  is,  "Let  me  think  about 
it,"  followed  by  never  returning  a  call 
and/or  hiding  in  the  corner  when  you 
bump  into  that  person  at  a  party. 

Having  to  say  no  builds  anxiety  and 
might  propel  you  into  a  monologue  of  all 
things  wrong  with  the  project  or  the  per- 
son. Be  spare  with  your  words — the 
things  you  see  wrong  with  the  film  might 
end  up  being  the  reasons  it  wins  an  Oscar. 

Instead  of  criticizing,  ask  questions. 
Maybe  you  are  missing  the  point.  Maybe 
the  person  doesn't  pitch  well  or  doesn't 
represent  their  producing  or  editing  skills 
well.  And  if  it's  still  a  "no  way,  Jose,"  then 
stay  away  from  comments  like:  I  pro- 
claim you  unworthy  of  me,  my  company, 
and  everything  I  touch.  A  more  accurate 
representation  of  the  situation  would  be 
something  like:  "At  this  moment,  given 
these  particular  circumstances,  this  is  not 
a  good  match."  If  in  addition  you  can 
offer  some  resources  and/or  recommen- 
dations of  other  doors  to  knock  on,  then 
you  have  really  paved  your  way  to  film- 
making sanctity,    ^k 

Fernanda  Rossi  is  a  filmmaker  and  story 
consultant,  and  the  author  of  Trailer 
Mechanics:  A  Guide  to  Making  your 
Documentary  Fundraising  Trailer. 


26  The  Independent  |  December  2005 


ON  THE  SCENE 


By  Malik  Gaines 

At  the  opening  reception 
for  Kara  Walker's  multi- 
media project  "Song  of  the 
South"  at  downtown  LA's  RED- 
CAT  Gallery,  the  artist  adopted 
the  eerily  detached  voice  of  a  little 
girl  playing  with  her  dolls.  "Help 
us!  Help  us!"  she  cried  while 
perched  behind  a  semitransparent 


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Kara  Walker 
at  REDCAT 

8  Possible  Beginnings  or  the 
Creation  of  African-America 


screen  maneuvering  little  shadow  pup- 
pets that  had  been  overcome  by  a  rear- 
projected  flood.  The  silhouetted  figures, 
stars  of  both  Walker's  new  16mm  film 
and  this  puppet  performance,  looked  like 
wispy  elves  of  the  American  South,  with 
cotton  blossoms  for  heads  and  leafy  black 
limbs,  carried  by  water  and  wind  to  who- 
knows-where.  As  the  audience  sat  rapt, 
Walker  breathed  disquieting  life  into  her 
iconic  work:  a  dark,  anachronistic  fantasy 
of  African  America,  made  all-too-real  in 
two  dimensions  of  black  and  white. 

Apt  timing  has  been  a  hallmark  of 
Walker's  intriguing  and  often  controver- 
sial career,  and  this  puppet  show,  long- 


scheduled  to  inaugurate  her 
new  film  and  installation,  hap- 
pened to  coincide  with  the  dis- 
aster in  New  Orleans  still 
unfolding  several  days  after 
Hurricane  Katrina  struck  the 
Gulf  Coast.  Amid  one  of  the 
greatest  racial  spectacles  of  our 
time,  the  artist  performed  with 
an  elusive  air  of  mimicry  and  mystery. 
Walker,  whose  work  is  by  now  quite 
familiar  to  art  audiences,  consistently 
otters  stark  and  grotesque  images  of  race 
without  the  pressure  release  that  an  agen- 
da of  activism  or  the  catharsis  of  emotion 
can  provide.  After  introducing  some  of 


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the  puppet  characters  who  appear 
throughout  the  interdisciplinary  project, 
one  of  Walker's  shadow  figures,  a  black 
woman  protagonist  who  seemed  to  be  a 
surrogate  for  the  artist  herself,  opened  the 
floor  for  questions.  Ending  some  awk- 
ward   silence,    a    well-meaning    white 


December  2005  |  The  Independent     27 


MAKING 
IVIES 


A  Critical  Cinema  5 

Interviews  with 
Independent  Filmmakers 
BY  SCOTT  MACDONALD 
"A  monumental  achievement.  MacDonald's 
detailed  knowledge. ..and  his  subtle  and 
generous  insight,  allow  him  to  frame  his 
interviews  with  the  most  important  inde- 
pendent filmmakers  in  such  a  way  as  to 
elicit  the  most  interesting  aspects  of  their 
perceptions  of  their  work  and  its  context." 
—David  E.  James, 
author  of  The  Most  Typical  Avant-Garde 
$29.95  paperback.  $65.00  hardcover 

Backstory  4 

Interviews  with  Screenwriters 
of  the  1970s  and  1980s 

EDITED  AND  WITH  AN  INTRODUCTION 

BY  PATRICK  MCGILLIGAN 
"Intimate,  funny,  insightful  conversations 
with  the  highly  articulate  and  film-literate 
screenwriters  and  writer-directors  of  many 
of  the  most  memorable  American  films.... 
Both  the  interviewers  and  the  subjects  are 
great  company."  -Matthew  Bernstein, 

editor  of  Controlling  Hollywood 
$24.95  paperback.  $60.00  hardcover 


At  bookstores  or 
(800)  822-6657    •    www.ucpress.edu 


UNIVERSITY    OF 
CALIFORNIA    PRESS 


Images  above  and  right  from  Kara  Walker's  "Song  of  the  South"  2005  installation, 
cut  wood  with  projections,  REDCAT  gallery,  Los  Angeles  [Photos  by  Scott  Groller] 


woman  near  the  back  of  the  room  asked 
for  a  response  to  the  natural  disaster  at 
hand.  The  questioner  commented,  a  bit 
tritely,  that  the  botched  emergency  relief 
was  tinged  with  racism.  Walker  and  her 
puppet  responded  with  utter  indiffer- 
ence, mocking  the  question  and  ques- 
tioner, and  finally  adding  with  razor- 
sharp  sarcasm,  "I  can  tell  you  are  a  very 
good  person." 

It  is  this  iconoclastic  attitude  that  per- 
meates Walker's  black-and-white  film,  8 
Possible  Beginnings  or  the  Creation  of 
African-America:  A  Moving  Picture  by  the 
young,  self-taught,  Genius  of  the  South 
K.E.  Walker.  In  eight  short  chapters,  var- 
ious creation  myths  are  explored  and 
espoused.  Here  again,  shadow  puppets 
enact  the  narratives  in  a  natural  extension 
of  Walker's  past  work  with  silhouettes. 
The  film  though  has  a  charming  ama- 
teurishness to  it  that  is  lacking  elsewhere 
in  Walker's  body  of  work.  This  is  due  in 
part  to  the  16mm  medium  itself,  which 
always  reminds  one  of  a  film-school  exer- 
cise. But  also,  the  piece  is  made  with  a 
loose,  do-it-yourself  technique  and  tells 
its  story  in  disjointed  moments,  all  of 


which  add  up  to  an  impressionistic  expe- 
rience rather  than  a  concrete  narrative 
arc.  This  overall  lack  of  slickness  helps 
lighten  the  load  of  Walker's  heavy  con- 
tent while  dislodging  the  artist's  post- 
colonial  mix  of  influences  from  academic 
stodginess.  Despite  its  treacherous  race- 
baiting  and  some  frank  pornographic 
moments,  the  film  is  accessible  and  quite 
entertaining. 

One  live  actor,  much  voice-over  dia- 
logue, and  a  few  appropriated  antique 
images,  such  as  an  old  illustration  of  a 
white  ship  crew  throwing  naked  black 
bodies  overboard,  add  to  the  film's  mix- 
and-match  effect.  The  puppet  characters, 
with  their  crude  animation,  are  obvious- 
ly manipulated  by  hand  and  recall  folk 
techniques  such  as  the  epic  storytelling  of 
the  Javanese  Wayang  Kulit,  perhaps  the 
most  well  established  shadow-puppet  tra- 
dition in  the  world.  (Wayang  is  a 
Javanese  word  meaning  "shadow"  or 
"ghost"  and  is  a  theatrical  performance  of 
living  actors,  wayang  orang;  three  dimen- 
sional puppets,  wayang  golek;  or  shadow 
images  projected  before  a  backlit  screen, 
wayang   kulit.)   The   film   also   conjures 


28  The  Independent  |  December  2005 


early  cinema,  with  its  static  presentations, 
old-timey  music,  and  intertitles.  This 
blend  refocuses  the  entire  project  on  the 
19th  century  elements  of  content  and 
form  that  Walker  has  utilized  all  along  in 
her  reexamination  of  colonialism  and 
American  slavery. 

Of  course,  Walker's  is  neither  the  slav- 
ery we've  learned  about  in  school  nor  the 
antebellum  world  that  Hollywood  has 
wrought.  Here,  a  magical  realm  is  pre- 
sented as  both  real  and  metaphor,  a  semi- 
history  that  incriminates  all  and  exoner- 
ates none.  In  the  film's  version  of  the 
middle  passage,  the  slaves,  after  being 
thrown  overboard,  float  like  rubbish 
upon  ocean  waves.  An  island  appears 
nearby,  but  as  it  rises  out  of  the  water, 
what  seemed  like  an  oasis  is  actually  the 
tropical  headdress  of  a  giant  sea  goddess 
who  opens  her  mouth  and  swallows  the 
errant  black  bodies.  They  float  down  the 
long  chasm  of  her  digestive  tract  and 
emerge  out  the  other 
end  as  fertilizer  for 
the  South.  In  anoth- 
er sequence,  a  large 
black  buck  with  a 
huge  protruding 
phallus  meets  a 
smaller  man  with  a 
smaller  phallus  and 
presumed  white 

authority.  The  mas- 
ter foliates  the  slave 
in  shadow  relief  and 
finally  consummates 
their  shared  passion  by  shoving  cotton  up 
his  rear  end.  A  midwife  in  mammy  attire 
eventually  arrives,  and,  though  she  may 
know  "nuttin  about  birthin'  no  babies," 
she  effectively  delivers  the  offspring  of 
master  and  slave  from  the  black  man's  ass: 
a  new  breed  of  black  cotton.  And  so  the 
stories  go. 

Images  such  as  these  have  ensnared 
Walker  in  controversy  and  have  earned 
her  the  disapproval  of  some  notable 
artists  who  have  preceded  her.  Betye  Saar, 
an  LA-based,  elder  stateswoman  of 
African-American  art,  who  has  been  a 
key  innovator  of  the  assemblage  tradi- 
tion, told  PBS  in  1999  that  she  felt 
Walker's  work  was  "sort  of  revolting  and 
negative,  and  a  form  of  betrayal  to  the 
slaves,  particularly  women  and  children; 


that  it  was  basically  for  the  amusement 
and  the  investment  of  the  white  art  estab- 
lishment." Though  Saar,  who  is  now  79, 
has  been  among  the  most  outspoken  crit- 
ics of  Walker,  she  has  not  stood  alone  in 
making  such  charges.  As  in  other  areas, 
African-Americans  in  the  art  world  who 
have  enjoyed  any  career  success  have 
done  so  after  generations  of  struggle 
against  racist  institutions.  Those  who 
identify  with  this  effort  may  question  the 
meteoric  swiftness  with  which  Walker, 
who  was  born  in  1969,  has  been 
embraced  by  these  same  institutions.  In 
1997,  Walker  received  a  prestigious 
MacArthur  "Genius"  Award  at  the  age  of 
27  and  has  consistently  shown  work  in 
major  museums  and  private  galleries 
around  the  world,  including  recent  proj- 
ects at  the  Tate  gallery  in  Liverpool, 
England,  the  Studio  Museum  in  Harlem, 
New  York,  contemporary  art  centers  in 
Berlin,  Rome,  Mexico  City,  and  Tel  Aviv, 


and  for  the  25th  International  Bienal  of 
Sao  Paulo,  Brazil,  not  to  mention  regular 
commercial  exhibitions  at  Brent  Sikkema 
Jenkins  and  Co.,  the  gallery  that  repre- 
sents her  in  New  York. 

Since  her  emergence  in  the  late  '90s, 
Walker's  work  has  remained  strikingly 
consistent.  Riffing  off  of  a  19th  century 
portrait  form,  Walker  has  used  black  sil- 
houettes on  white  backgrounds  to  create 
an  endless  array  of  caricatures  whose 
magical-realist  arrangements  prod  the 
psycho-sexual  wounds  of  racism.  Rather 
than  engaging  in  some  kind  of  corrective 
representation  that  politically  realigns 
these  old-fashioned  images  for  the  com- 
mon good,  Walker  tends  to  take  these  fal- 
lacious icons  even  further  than  any  self- 
respecting  minstrel   show  would,   never 


AIVF  presents: 


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with  Innes  Smolansky 

The  popular  monthly  series 
returns  this  month  with  the 
first  of  11  sessions. 

December  1,  Thursday: 

FILM  FINANCING  102: 
THE  CRASH  TEST 

Cheat  sheet,  anyone?  A  crash  course  that 
will  bring  you  up  to  speed.  The 
workshop  will  address  private  equity 
investors,  tax  incentives,  studio 
financing,  production  company  backing, 
budgeting,  distribution  deals, 
foreign  territory  pre-sales  of  film,  video, 
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December  2005  |  The  Independent     29 


3rd  ANNUAL  TRENTON  FILM  FESTIVAL 

CALL  FOR  ENTRIES 

The  Trenton  Film  Festival  asks  filmmakers  from  around  the  world  to 
submit  films  for  the  3rd  Annual  Trenton  Film  Festival.  May  5  -  May  7, 
2006,  in  New  Jersey  s  capital  city    Over  ninety  films  were  screened  last 
year  at  our  multi-venue,  three-day  event    Win  cash  prizes  and  the 

Categories: 

♦  Narrative  Feature 

♦  Narrative  Short 

♦  Documentary  Feature 

♦  Documentary  Short 

♦  Foreign  Feature 

♦  Foreign  Short 

♦  Experimental 

♦  Animation 

♦  Family  Short 

"Ernie"  l-Beam  trophy.   Filmmakers  can  submit  via  Withoutabox  or  with 
a  pdf  submission  form  available  at  www.TRENTONFILMFESTIVAL.org. 

ALL  ENTRIES  MUST  BE  POSTMARKED  BY  FEBRUARY  1.  2006 

Submission  Fees  S45  Feature.  $35  Short;  S25  Student  Disc  (w/ID) 

Submit  Form  &  check  to: 

Trenton  Film  Festival  Submissions.  PO  Box  22430.  Trenton,  NJ  08607 

For  info  visit  www.TrentonFilmFestival.orq  or  call  609-396-6966 

Original  Scoring  -  Foley/adr  -  Sound  FX  Library 
Noise  Reduction  -  Mix  to  Picture  -  Audio  restoration 


www. 


-      ~7  1  8-606-8677 
.COM 


POINT       OF       CON 


PRESENTS 


SYRACUSE  INTERNATIONAL 
FILM  &  VIDEO  FESTIVAL 


APRIL     6-9,      2006 


Every  entry  will  be  pre-screened  in  its  entirety.  All  genres.  All  lengths.  Cash  awards. 
Post-festival  publication  with  critical  reviews.  International  jury. 

Submissions  accepted  through  December  10,  2005 

For  more  information,  and  to  fill  out  an  entry  form,  visit:  WWW.Syrfilmfest.com 

The  Syracuse  International  Film  &  Video  Festival  is  a  member  of  www.withoutabox.com 


shying  away  from  the  battles  that  are  con- 
stantly waged  on  all  sides  regarding  what 
can  and  cannot  be  said  about  race  in 
America. 

Walker  emerged  on  the  art  scene  at  the 
end  of  a  transformative  moment  in  the 
late-'90s,  when  the  rarity  of  pioneers  like 
Saar  had  given  way  to  a  small  but  healthy 
crop  of  African-American  artists — folks 
like  Glenn  Ligon  and  Lorna  Simpson  who 
had  already  begun  to  make  names  for 
themselves.  The  artists  of  this  post-mod- 
ern mini-movement  tended  to  combine 
traditional  techniques  with  the  stylistic 
languages  of  conceptualism  and  minimal- 
ism in  order  to  critique  cultural  identity. 
But  while  Ligon's  paintings  or  Simpson's 
photographs  have  often  interrogated  rep- 
resentation from  a  position  consistent 
with  liberal  politics,  Walker's  work  from 
the  start  seemed  to  revel  in  a  wealth  of 
wrong-headed  images,  images  like  those 
that  have  historically  been  used  to  justify 
racism  (again,  think  minstrel  theater  or  in 
relevant  film  terms,  The  Birth  of  a  Nation 
(1915),  Gone  with  the  Wind  (1939),  or 
Disney's  Song  of  the  South  (1946),  an  obvi- 
ous source  of  inspiration  here;  REDCAT 
is  an  acronym  for  Roy  And  Edna 
Disney/CalArts  Theater).  The  cleverness 
with  which  Walker  wields  these  images 
creates  the  troubling  possibility  that  white 
audiences  will  simply  enjoy  the  work  and 
not  understand  that  it's  wrong  to  be  racist. 
More  than  critiquing  racism  itself,  Walker 
seems  to  be  challenging  the  notion  that 
Western  art  can  indeed  be  recalibrated  to 
socially  redeem  itself.  This  can  read  as  very 
cynical  or  very  smart. 

In  a  final  scene  from  Walker's  film,  a  lit- 
tle boy  demands  that  Uncle  Remus  tell  him 
a  story  else  he'll  have  the  old  slave  whipped. 
Projected  on  a  screen  surrounded  by  ply- 
wood trees  that  have  been  painted  black, 
creating  a  gallery  installation  that  looks  like 
a  Brechtian  bayou,  the  film  continues  this 
familiar  push  and  pull  of  representation  in 
which  institutions  define  the  starting  point 
for  what  one  can  say  about  oneself.  Given 
the  images  of  tortured  African  Americans 
our  mass  media  have  recently  had  occasion 
to  parade  across  our  collective  view, 
Walker's  wicked,  violent,  and  un-idealistic 
work  may  be  more  realistic  than  her  critics 
have  given  her  credit  for.    "k 


30  The  Independent  |  December  2005 


A        „,,M£ADAlACR£OIICORP. 
iglon.  DE 19950 


sssassffl^ 


The 

Anywhere 

Effect 


Jem  Cohens  Chain  stars  undirected  footage  of 
the  real  world 


BY  LISA  SELIN  DAVIS 


A 


couple  of  years  ago,  I  decided 
to  take  a  break  from  New 
York,  and  headed  out  to 
•Tempe,  Arizona  for  graduate 
school.  I  imagined  I  was  moving  to  a 
quaint  little  college  town  perched  along 
the  edge  of  the  Sonoran  Desert,  dotted 
with  vernacular  straw  bail  houses,  maybe, 
or  adobe  ranches.  What  I  found  instead 
were  traditional  suburban  subdivisions 
flanked  by  ferociously  green  sod  lawns 
(and  millions  of  gallons  of  water  siphoned 
from  the  Colorado  River  to  water  them), 
and  endless  stretches  of  highway  punctu- 
ated with  superstores:  a  Wal-Mart  on  one 
corner,  Target  on  the  next,  the  recurring 
ironic  presence  of  Applebee's  (your 
"neighborhood"  bar  and  grill,  available 
almost  exclusively  in  neighborhood-less 
zones).  Though  the  Phoenix  area  was  all  a 


32  The  Independent  |  December  2005 


Miho  at  her  desk  in  Chain  [photo  courtesy  Antidote  Films] 


0) 

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big  grid  and  not  hard  to  navigate,  I  found  myself  consistently 
lost,  as  I  could  never  tell  quite  where  I  was.  And  except  for  the 
occasional  view  of  leopard-patterned  desert  hills,  there  were  no 
clues  that  I  was  even  in  Arizona.  It  seemed  like  I  could  have 
been  anywhere. 

This  "anywhere  effect"  is  the  subject  of  Jem  Cohen's  newest 
film,  Chain  (2004).  Shot  over  seven  years  in  enclosed  shopping 
centers  and  strip  malls  and  hotels  in  1 1  States,  plus  France, 
Germany,  Poland,  Australia,  and  Canada,  Chain  tells  the  story 
of  two  women — one  a  squatter,  the  other  a  corporate  drone — 
who  navigates  these  generic  landscapes,  devoid  of  regional  dif- 
ferences, compressed  into  one  homogenized  reenactment  of  a 
place.  One  of  the  actresses,  Miho  Nikaido,  is  a  professional 
actor  (the  corporate  drone);  the  other,  Mira  Billotte,  is  an 
underground  musician.  And  while  their  journeys  are  conceived 
by  Cohen,  the  degree  to  which  the  film — a  mixture  of  docu- 
mentary footage,  semi-scripted  scenes,  and  recorded  oral  histo- 
ries— is  documentary  or  narrative  is  known  only  to  him.  Expect 
some  recalcitrance  if  you  want  him  to  illuminate  the  formula. 

"I  don't  really  want  to  talk  too  much  about  the  nuts  and  bolts 
because  I  think  it  spoils  the  experience  to  a  certain  degree,"  says 
Cohen.  "What  I  find  most  satisfying  is  that  people  who  go  to 
the  movie  are  unsure  as  to  where  the  documentary  slips  off  and 
where  the  narrative  begins."  When  Amanda,  the  drifter,  rattles 
off  her  low-wage  jobs  in  voice-over,  very  often,  Cohen  says,  she's 
just  talking  to  him  about  her  life.  And  when  Tamiko,  who's 
been  sent  to  the  United  States  by  her  Japanese  company  to  con- 
sult for  a  steel  company  considering  a  transformation  into  a 
theme  park,  quotes  the  dogma  of  her  bosses,  saying,  "Without 


a  pure  race,  it  will  be  difficult  to  have  a  pure  goal  for  business," 
she's  actually  quoting  a  corporate  speech  Cohen  read  about  in 
the  paper;  he  studied  the  business  pages,  along  with  books  like 
Walter  Benjamin's  Arcades  Project  and  Barbara  Ehrenreich's 
Nickel  and  Dimed Tor  both  inspiration  and  research. 

He  does  offer  this  about  his  process:  "I  usually  work  kind  of 
backwards,  partly  from  pre-existing  footage  where  I  find  narra- 
tive cues,  and  then  I  write  very  carefully,  and  so  some  of  it  is  sort 
of  stumbled  upon  and  some  of  it  is  very  carefully  crafted."  He 
continues,  "I  shot  for  years  just  looking  at  these  places  and  not 
really  thinking  about  their  narrative  aspects.  It's  that  process 
that  makes  it  half  a  documentary  film.  Half  of  it  is  undirected 
footage  of  the  real  world;  it's  documentary  footage." 

These  real-world  corporate  spaces — regional  malls  and  park- 
ing lots — are  as  much  characters  in  the  film  as  either  of  the 
women,  who  wander  through  these  worlds  without  ever  inter- 
acting. And  although  many  of  us  navigate  these  kinds  of  envi- 
ronments on  a  regular  basis,  we  may  not  understand  their  emo- 
tional and  social  impact.  How  many  of  us  have  experienced  the 
disorientation  of  disappointment  upon  entering  a  new  city  only 
to  find  that  it  looks  just  like  the  place  we  left?  As  regionalism 
disappears,  and  this  corporate  architectural  conformity  raises  up 
to  replace  it,  what  does  it  mean  for  our  culture? 

While  he's  not  going  to  answer  the  question  of  the  film's  pur- 
pose directly  ("The  purpose  of  art  is  not  to  direct  people  toward 
certain  kinds  of  action,"  he  says.  "That  may  be  one  of  the  side 
effects  of  art,  but  for  me  it's  not  the  purpose.  That's  the  purpose 
of  propaganda."),  Cohen  hopes  Chain  will  at  least  get  our  citi- 
zens asking  it.  Like  documentary  in  its  purest  sense,  Cohen 


December  2005  |  The  Independent    33 


-a 
Co 


presents  a  situation,  a  landscape,  an  experience,  with  the  hope 
that  an  audience  will  develop  an  environmental  awareness  and 
examine  how  these  spaces  affect  their  own  lives  and  their 
worlds.  "A  shopping  mall  in  a  movie  is  usually  given  to  you  as  a 
kind  of  shorthand  that  very  crudely,  in  a  sort  of  cartoonish  way, 
says  'suburbia,'  and  that  kind  of  shorthand  is  not  working," 
Cohen  says.  "It's  not  encouraging  any  real  connection  or  con- 
templation or  confrontation  with  these  realities." 

Chains  subject  matter  is  increasingly  relevant,  not  just 
because  of  the  ubiquity  of  corporate  architecture,  but  because  of 
recent  events,  like  Hurricanes  Katrina  and  Rita,  that  force  our 
culture  to  examine  how  we  think  about  place.  "They're  talking 
about  is  New  Orleans  going  to  be  a  theme  park  version  of  itself; 
are  all  of  the  poor  people  going  to  get  swept  away,  literally  and 
figuratively,  so  that  there  can  be  a  kind  of  cleaner,  safer,  tourist- 
friendly  version  of  this  regional  extraordinary  place?"  he  asks. 

Cohen  sees  parallels  between  a  society  that  builds  disposable 
architecture  and  one  that  treats  its  citizens  as  disposable  as  well. 
"These  places  are  so  sapped  of  not  just  regional  character  but  of 
historical  quality.  They're  not  supposed  to  age,"  he  says.  "When 
they  start  to  age,  they  just  get  rid  of  them  and  put  up  a  new  one, 
and  you're  faced  with  a  world  in  which  things  don't  age,  and 
what  does  that  do  to  people  when  they're  surrounded  by  things 
that  have  no  evidence  of  time  or  decay?  Isn't  that  connected  in 
some  way  with  a  society  that  doesn't  want  to  look  at  old  people 
in  general?" 

Cohen  has  been  making  films — very  much  in  longhand — for 
more  than  20  years.  He  began  his  career  as  a  shipping  clerk  at  a 
mom-and-pop  industrial  production  company  that  made 
16mm  training  films  for  firemen  and  mothers-to-be.  Whatever 
the  subject  matter  or  form,  there  is  a  consistency  in  terms  of 
tone  and  theme:  His  films  focus  on  forgotten  everyday  spaces, 
overlooked  faces  on  the  fringe,  and  attend  to  them  with  a  kind 


of  patience  that  those  of  us  inculcated  by  MTV-style  rapid  cut- 
ting might  have  a  hard  time  adjusting  to.  His  2000  film 
Benjamin  Smoke  captured  the  life  of  the  Atlanta  underground 
musician,  druggie,  and  drag  queen  known  as  Benjamin,  whose 
ravaging  by  AIDS  parallels  the  encroachment  of  condos  and 
yuppies  on  his  formerly  industrial,  working  class  neighborhood 
of  Cabbage  Town.  The  year  before,  Cohen  made  Amber  City 
(1999),  a  collage  of  sorts  about  an  unnamed  Italian  city,  and  in 
1998,  the  Fugazi  documentary  portrait  Instrument. 

To  fund  his  projects,  Cohen  spent  ten  years  working  as  a 
"prop  boy"  in  the  commercial  film  industry,  working  on  "fea- 
tures and  bad  television,"  he  says.  "Working  on  those  kinds  of 
big  movies  basically  just  taught  me  what  I  didn't  want  to  do: 
make  big  movies;  spend  a  lot  of  money;  have  armies  of  people 
freaking  out;  not  have  time  to  get  anything  right." 

His  inspiration  came  neither  from  traditional  Hollywood 
films  nor  from  what  we've  come  to  see  as  traditional  documen- 
taries. He  feels  he  has  more  in  common  with  the  Lumiere 
brothers  or  Robert  Flaherty — the  father  of  the  dramatic  reen- 
actment  as  much  as  the  father  of  documentary — than  any 
mainstream  filmmakers.  "I  never  had  any  particular  desire  to  do 
traditional  documentaries  or  traditional  narrative  films,  and  I 
don't  really  consider  myself  an  experimental  filmmaker,  either. 
If  people  would  describe  Hollywood  and  most  indie  features  as 
conventional  film,  or  as  film  where  you  know  how  it's  going  to 
come  out,  or  star-obsessed  film... when  they  start  to  be  accurate 
about  what  they  do,  then  they  can  start  calling  what  I  do  exper- 
imental," he  says.  "I  don't  see  why  people  who  don't  toe  that 
kind  of  line  should  be  ghettoized  into  that  little  zone  of  experi- 
mental filmmaking." 

It's  hard  to  describe  Cohen's  films  without  reaching  for  the 
word  "experimental"  though — they  defy  traditional  categoriza- 
tion. Some  have  called  them  "essay  films,"  which  is  less  objec- 


34  The  Independent  |  December  2005 


tionable  to  him  but  still  not  descriptive  enough,  since  they  often 
include  narrative  elements.  "[Experimental  is]  not  a  very  useful 
term  to  me.  I  think  it  scares  people  away,  but  nobody  really 
knows  what  it  is.  It's  about  as  useful  as  the  word  'alternative'  in 
the  context  of  music,"  he  says.  "It  has  a  similar  initial  meaning, 
which  is  now  so  co-opted  and  denatured  that  it  doesn't  really 
mean  anything.  I  think  I  make  accessible  films,  and  that's  not 
usually  what  people  say  about  experimental  movies." 

And  yet  he  is  experimenting.  With  Chains  long  takes,  its 
patient,  exhaustive  montage  of  big  box  stores,  and  lack  of  tradi- 
tional plot — though  the  characters  do  change,  there  is  little  of 
that  elusive  narrative  arc — Cohen  is  convinced  he's  made  an 
accessible  film.  "Chain  is  very  down  to  earth,"  he  says.  "It's 
about  the  mall  that  you  go  to  and  I  go  to.  It's  about  the  shitty 
job  that  you  once  had  or  I  once  had,  or  many,  many  other  peo- 
ple we  know  have  had  or  will  have,  and  it's  about  the  corporate 
presence  in  our  lives  that  we're  all  finding  to  be  unavoidable. 
Yet,  somehow  to  make  a  movie  about  that,  some  people  will 
construe  it  as  arty  or  pretentious  or  difficult.  I  think  it's  exactly 
the  opposite." 

That  American  audiences — and  more  importantly,  American 
media  outlets — have  not  yet  realized  the  accessibility  of  his  films, 
and  particularly  Chain,  is  a  continual  source  of  annoyance  to 
Cohen.  "Why  is  it  theoretically  more  accessible  to  make  a  movie 
about  people  trying  to  kill  each  other  while  things  explode 
around  them,  or  life  on  another  planet,  or  some  kind  of  lifestyle 
that  few  of  us  will  ever  access?"  he  asks.  "I'm  totally  puzzled  by 
how  things  have  been  warped  into  that  norm  of  storytelling." 

Certainly  there  is  a  connection  between  the  corporatized 
architectural  landscape  of  Chain  and  the  sometimes  close-mind- 
ed world  of  the  film  industry;  we  come  to  have  expectations  of 
what  a  film — or  a  building — should  look  like  after  being  led  the 
same  formula  for  so  long.  "That's  what  the  film  is  about:  It  asks 
certain  very  simple  questions  about  why  we  assume  that  certain 
things  are  natural,"  says  Cohen.  "The  same  way  that  we  assume 
that  Wal-Mart  is  a  natural  part  of  the  landscape,  people  assume 
that  a  blockbuster  is  the  natural  mode  of  filmmaking.  It's  not 
the  natural  mode;  it's  a  perverse  mutation." 

Unfortunately,  our  cinematic  expectations  are  so  ingrained 
that  some  in  the  industry  might  describe  Cohen's  film  that  way. 
The  problem,  Cohen  says,  is  not  that  audiences  reject  his  genre- 
bending  movies,  but  that  distributors  and  even  festival  judges 
don't  realize  their  value — how  many  artists'  projects  have  been 
turned  down  because  the  backers  just  don't  know  how  to 
market  it? 

"[Audiences]  might  be  thrown  by  some  ways  that  the  film  is 
made;  they  might  be  confused  about  the  film's  gray  area 
between  narrative  and  documentary,  but  I'm  not  having  prob- 
lems with  the  audiences.  It's  just  a  matter  of  how  you  can  get  the 
movie  in  front  of  the  audiences,"  he  says. 

Though  Chain  has  enjoyed  success  at  many  film  festivals,  in 
America  and  abroad,  as  well  as  a  run  at  the  new  IFC  Center  in 
New  York,  Cohen  still  feels  like  his  mode  of  filmmaking  is  not 
properly  appreciated.  If  the  term  "experimental"  is  ill-fitting 
and  misleading,  "independent"  really  does  apply  to  Cohen.  His 


films  are  fiercely  independent  (another  title  Cohen  thinks  has 
been  watered  down  into  meaninglessness),  though  not  in  the  way 
of  Sundance,  say — he  has  love  neither  for  the  indie  world  nor  the 
commercial  industry,  seeing  very  little  difference  between  them. 
Nor  do  American  film  festivals  appeal  to  him  much,  either.  He  is, 
as  they  say,  "big  in  Europe."  That  phenomenon  is  partially 
explained,  Cohen  thinks,  by  the  European  sensibility  to  film,  a 
different  set  of  artistic  priorities  that  make  room  for  films  like 
Cohen's. 

"We  don't  have  anywhere  near  the  quality  of  festivals  that  they 
have  in  Europe,"  he  says.  When  I  point  out  that  we  have,  at  least, 
an  ever-increasing  quantity  of  film  festivals,  he  informs  me  that, 
"every  town  having  a  film  festival  is  not  a  solution,  because  a  lot 
of  those  towns  are  thinking  more  in  terms  of  boosting  the  local 
economy  and  trying  to  attract  a  couple  of  stars  to  walk  into  their 
gala  opening.  It  doesn't  necessarily  mean  that  they're  really  con- 
cerned about  filmmaking  or  independent  filmmaking  or  having 


Parking  lot  view  in  Chain  [photo  courtesy  Antidote  Films] 


filmmakers  talk  about  real  things."  Cohen  has  little  patience  for 
the  culture  of  film  festivals  or  the  mystique  around  independent 
filmmaking.  "It's  about  who  gets  into  the  party  and  how  big  the 
goody  bags  are  and  the  media  frenzy  around  sales,"  he  says.  "It's 
primarily  about  whether  or  not  something  sells  and  that's  just  not 
where  I  come  from,  and  it's  not  where  I  want  to  end  up." 

To  be  fair,  though,  even  as  Cohen  lambastes  the  mainstream, 
he's  certainly  waded  in  it,  making  music  videos  for  bands  like 
REM  and  Sparklehorse — bands  that  have  been  lumped  into  that 
category,  "alternative,"  which  he  so  dislikes.  But  that's  part  of  his 
independence;  he  makes  decisions  about  what  projects  he  wants  to 
take  on,  unguided  by  the  strong  arm  of  studios,  or  agents,  or  mar- 
keters. "I  want  to  keep  making  movies  that  I  have  control  over, 
without  compromising  them,"  he  says. 

Chain  is  no  compromise,  even  if  the  documentary  elements 
bend  to  accommodate  the  narrative  ones,  and  vice  versa.  It  is,  in  a 
way,  its  own  animal,  and  it  is  this  that  pleases  Cohen  most.  "Every 
time  I  show  it,  somebody  thinks  it's  a  straight  documentary,"  he 
says.  "And  that's  just  the  best  review  I  could  ever  get."  * 


December  2005  |  The  Independent    35 


Docur&pi 


on  the 


a 

se 


The  new  masters  of  docs  on  DVD 


BY  KATHERINE  DYKSTRA 


At  the  1998  Sundance  Film  Festival,  Steve  Savage 
and  Susan  Margolin,  the  two  minds  behind 
New  Video,  a  New  York-based  entertainment 
marketing  and  sales  company,  watched  as  tick- 
ets for  documentaries  were  snatched  up  left  and 
right.  They  witnessed  audiences  line  up  to  get  into  sold-out 
theaters.  They  saw  documentary  after  documentary  screen 
with  standing  room  only.  They  listened  as  the  critics  lauded 
the  documentaries  shown  at  Sundance  that  year  as  the  best 
films  of  the  entire  bunch.  And  that's  when  the  light  bulb  went 
off. 

"We  had  already  been  in  the  video  business,"  says  Savage, 
co-principal  of  New  Video,  which  he  and  Margolin  founded 
in  1993  to  bring  feature  films,  classic  television,  and  docu- 
mentaries to  home  video  and  DVD.  "We  hoped  this  would  be 
the  time  when  documentary  filmmaking  would  become  com- 
mercial, when  filmmakers  could  make  money  distributing  on 
DVD  and  video,  and  we  decided  to  take  the  leap." 

The  leap  came  in  the  form  of  Docurama,  a  distributing  arm 
created  specifically  for  documentary  films  both  new  and  old. 
And  though  Savage  and  Margolin  couldn't  have  known  for 
certain  then,  with  documentary  filmmaking  poised  to  blow  up 


36  The  Independent  |  December  2005 


and  DVD  sales  getting  ready  to  skyrocket,  their  leap  couldn't 
have  come  at  a  better  time.  What  was  a  major  risk  in  1999  was 
by  2005  a  very  savvy  and  successful  business  venture. 

The  two  tested  the  waters  with  DA  Pennebaker's  Bob  Dylan: 
Don't  Look  Back  (1967),  the  story  of  the  revolutionary  and  now 
legendary  singer/songwriter's  1965  tour  of  England.  The  film 
had  already  been  released  on  VHS,  but  New  Video,  as 
Docurama,  took  a  slightly  different  tack  with  publicity  and  pro- 
motion. Rather  than  market  it  as  a  music  video  as  other  compa- 
nies had  done,  Docurama  sold  it  as  "one  of  the  greatest  docu- 
mentaries of  an  artist." 

"They  missed  the  point.  We  focused  on  this  as  a  film  and 
released  it  as  if  it  had  never  been  out  before.  DA.  Pennebaker 
made  himself  available  for  a  theatrical  kind  of  release  campaign 
that  included  a  week  of  wall-to-wall  interviews.  It  got  out  there. 

It  was  very  successful,"  says  Savage.  "And  we  realized  we  were 
on  to  something." 

Indeed,  the  whole  concept  seems  so  obvious  now — you  can't 
open  a  film  section  or  visit  a  theater  without  running  into  a  doc- 
umentary. In  2004,  Sundance  broke  tradition  and  opened  with 
Stacy  Peralta's  surfing-subculture  doc,  Riding  Giants;  the  first 
time  the  festival  had  ever  opened  with  a  documentary.  And 


festivals  created  solely  for  documentaries  such  as  Silverdocs 
and  Full  Frame  are  cropping  up  all  over  the  country — but  in 
the  mid  '90s  and  before,  theaters  wouldn't  run  documentaries 
because  tickets  wouldn't  sell,  retailers  wouldn't  stock  them 
because  consumers  wouldn't  buy,  and  producers  wouldn't  fund 
them  because  no  one  could  make  any  money. 

"Doug  Block  [a  documentary  filmmaker]  has  a  website 
called  the  D-word  [www.d-word.com],  for  documentary,"  says 
Savage.  "Before  Docurama,  we'd  released  some  documentaries, 
and  we  had  to  be  careful  not  to  use  the  'D-word'  when  we 
went  to  the  retailers  because  the  response  was  always,  'I  don't 
do  well  with  documentaries.'" 

This  was  status  quo  for  years  and  then,  as  it  invariably  will, 
popular  culture  began  to  shift.  The  very  first  tremors  of 
change  came  from  cable  TV,  according  to  Pat  Aufderheide,  a 
professor  in  the  School  of  Communication  at  American 
University  and  director  of  the  Center  for  Social  Media  there. 
Looking  for  low  budgets,  and  high  drama  and  action,  cable 
producers  alighted  on  reality,  not  the  flashy,  empty-headed 
shows  of  today,  but  predictable  series  with  staying  power. 
Think  TLC's  "Junkyard  Wars,"  a  four-year  series  that  began  in 
2000,  which  featured  teams  racing  to  build  a  machine  out  of 


materials  they  found  in  a  scrap  yard  in  each  episode.  And  the 
Food  Network's  still-running  "Food  Fight,"  where  two  teams 
face  off  to  see  who  can  concoct  the  best  dish  out  of  a  given 
regional  fare.  This  formulization  of  documentary,  devoid  as  it 
is  of  personality,  created  an  appetite  for  genuine  documentary, 
explains  Aufderheide.  Suddenly  people  were  seeking  out  docs 
with  unique  viewpoints,  with  authentic  personas. 

Aufderheide  calls  it  a  backlash  of  commoditized  popular 
culture,  citing  the  success  of  ranting  radio  hosts,  the  increase 
in  religious  fervor,  and  the  growth  in  cynicism  for  popular 
media  as  evidence  of  America's  hunger  for  something  real, 
something  in-your-face,  something  that's  not  ashamed  to  be 
exactly  what  it  is. 

Simultaneously,  with  the  help  of  the  internet,  niche  markets 
developed,  spawning  even  more  documentary  consumption. 
"For  example,  my  kid  was  wearing  a  Che  Guevara  t-shirt," 
says  Aufderheide.  "I  asked  him  if  he  knew  who  Che  Guevara 
was,  and  he  went  off  to  Netflix  to  rent  a  doc.  He  found  an 
Italian  one  on  Che  and  now  he's  altered  our  Netflix  recom- 
mendations list.  It's  an  accidental  niche." 

Savage  believes  the  coming  of  age  of  the  doc  had  a  lot  to  do 
with  the  growing  presence  of  mass  media.  "I  think  a  lot  of 


December  2005  |  The  Independent    37 


people  have  been  talking  about  how  we're  all  in  this  world 
together.  Things  we  could  have  ignored  years  ago,  we  cant 
now,  because  all  of  our  media  brings  it  into  our  homes,  into 
our  lives,"  says  Savage.  "People  need  to  make  sense  of  this 
world."  And  so  they  turn  to  "the  truth." 

Meanwhile,  documentary  filmmakers  were  learning  that 
they  could  make  docs  more  palatable  by  perhaps  taking  a  cue 
from  narrative  nonfiction,  in  which  writers  use  literary  devices 
to  make  fact  read  like  fiction.  Their  films  became  less  like 
hour-long  news  programs  and  more  like  dramatic  features. 

Savage  keyed  into  all  of  this  long  before  it  happened. 
"Another  indicator  that  [Docurama]  might  work  was  the 
emergence  or  nonfiction  [books]  over  fiction  in  the  '90s."  says 
Savage.  "This  supported  our  belief  that  this  would  happen  in 
motion  media  as  well."  He  was  right. 

Eventually  the  theatrical  marketplace,  taking  a  cue  from 
public  taste,  developed  a  craving  for  films  that  reflect  realism. 
And  by  2003,  there  was  no  shortage  of  successful  docs  nonfic- 
tion filmmakers  could  look  to  for  inspiration  and  measure 
their  own  success  against.  In  fact,  the  box  office  returns  for 
theatrical  documentaries  increased  four-fold  between  2000 
and  2002.  Leaping  from  55  million  in  2000  and  2001,  to  S32 
million  in  2002,  and  nearly  $45  million  in  2003  (dubbed  "the 
year  of  the  doc"  by  mainstream  media  such  as  the  Boston 
Phoenix  and  the  Austin  Chronicle).  And  the  numbers  are  still 
growing.  Unit  sales  for  documentaries  on  DVD  have  tripled 
between  2001  and  2004  from  1  million  to  3.7  million  (pro- 
jected). 

Clearly,  Savage  and  Margolin  made  their  move  at  the  right 
time. 

"We  like  to  think  we're  really  smart,  but  we  were  a  bit  lucky 
at  the  end  of  the  day  that  there  was  a  steady  stream  of  great 
docs  over  the  last  5  years  that  have  brought  more  people 
toward  these  kinds  of  films,"  says  Savage. 

That  first  year  Docurama  released  six  titles.  Five  years  later, 
in  2004,  the  40-person  strong  company  released  36  new  titles. 
In  fact,  Docurama  is  one  of  the  10  biggest  DVD  suppliers  to 
Amazon,  says  Savage. 


But  just  because  the  documentary  film  world  was  booming 
didn't  necessarily  mean  that  Docurama  was  ensured  success; 
there  are  now  a  whole  slew  of  labels  that  put  out  docs.  No,  the 
secret  to  Docurama's  success  is  in  their  approach.  Savage  puts 
it  nicely:  "Every  documentary  film  doesn't  sell  everywhere,  but 
every  documentary  film  sells  somewhere."  He  continues,  "You 
can't  just  pump  titles  out  to  the  most  obvious  and  logical  retail 
outlets,  you  have  to  understand  each  title  and  its  own  cus- 
tomers and  strategy.  Documentaries  are  usually  about  a  sub- 
ject and  each  subject  has  its  people  who  are  interested  in  it,  so 
rather  than  sell  documentaries  to  documentary  lovers,  we  sell 
a  film  to  the  people  who  care  about  it  and  hopefully  in  turn 
bring  them  into  the  documentary  lovers  tent." 

Take  Sound  and  Fury,  Josh  Aronson's  2000  documentary 
that  examines  deaf  culture.  The  film  debuted  at  Sundance  and 
later  aired  on  PBS's  P.O.V  In  order  to  market  the  film, 
Docurama  first  considered  who  would  actually  want  to  see  it. 
And  then  they  targeted  websites  dedicated  to  deaf  culture, 
schools  for  the  deaf,  blogs  that  deaf  people  frequent,  as  well  as 
special  interest  groups  and  other  deaf  communities. 

"There  was  broad  awareness  for  the  film,  and  Docurama 
took  advantage  of  that,"  says  Aronson,  who  estimates  that 
between  1  and  2  million  people  nationwide  are  touched  by 
deafness.  "Through  that  celebrity  and  our  awards,  Docurama 
was  able  to  focus  the  distribution." 

Emboldened  by  the  success  of  his  first  teaming  with 
Docurama,  Aronson  is  currently  toying  with  another  way  to 
package  the  film:  with  its  sequel,  a  follow-up  he  hopes  to  make 
about  the  families  featured  in  Sound  and  Fury.  A  sterling  idea 
as  repackaging  can  mean  the  revitalization  of  a  documentary. 

Twenty  years  ago,  Aviva  Kempner  produced  Partisans  of 
Vilna,  the  story  of  the  Jewish  resistance  in  the  capital  of 
Lithuania  during  WWII  and  the  Holocaust.  When  it  was 
released  in  1986,  the  film,  co-written  and  directed  by  Josh 
Waietzky  {Image  Before  My  Eyes;  1981),  received  critical 
acclaim:  It  won  awards,  screened  at  film  festivals  around  the 
world,  and  was  used  educationally  in  classrooms.  But  as  time 
wore  on,  viewership  waned.  Sure,  synagogues  still  showed  it  as 


38  The  Independent  |  December  2005 


'We  like  to  think  we're  really  smart,  but  we 

were  a  bit  lucky  at  the  end  of  the  day  that 

there  was  a  steady  stream  of  great  docs  over 

the  last  5  years  that  have  brought  more  people 

toward  these  kinds  of  films,"  says  Savage. 


the  classic  film  on  Jewish  resistance,  but  its  heyday  had  past. 

Enter  Docurama.  Kempner  who  directed  The  Life  and 
Times  of  Hank  Greenberg  (1998),  pitched  Partisans  to  her  old 
friend  Susan  Margolin  at  a  party,  and  Margolin  bit.  Docurama 
reissued  Partisans  in  2004-ready  style.  Read:  a  hipper  package. 
Completely  repackaged,  the  DVD  included  a  bonus  CD  of 
the  Grammy-nominated  soundtrack  featuring  Jewish  resist- 
ance songs  and  a  songbook  complete  with  lyrics  in  both 
English  and  Yiddish.  A  study  guide  with  historical  back- 
ground and  key  questions  for  discussion,  footage  of  Kempner 
and  Waletzky  ruminating  on  their  film,  and  a  photo  gallery  of 
stills  not  included  in  the  original. 

"DVDs  give  you  such  an  incredible  opportunity  to  reintro- 
duce your  product.  New  technology  is  a  resurrection,"  says 
Kempner.  "For  so  long  people  would  come  up  to  me  and  say, 
'I  just  saw  your  Hank  Greenberg  film.'  Now  they  come  up  to 
me  and  say,  'I  just  saw  your  Hank  Greenberg  film  and  your 
Partisans  film.'" 

Docurama  gave  the  film  a  new  life.  Similarly,  for  films 
unable  to  summon  enough  initial  attention,  DVDs  can  mean 
they'll  have  a  future. 

After  its  premiere  at  Sundance,  Sister  Helen,  Rebecca 
Cammisa  and  Rob  Fruchtman's  award-winning  2002  docu- 
mentary about  a  tough-as-nails  nun  who  runs  a  home  for 
recovering  addicts,  was  presented  on  Cinemax.  Despite  the 
awards  and  short  theatrical  runs  in  New  York  and  LA, 
Cammisa  and  Fruchtman  were  unable  to  secure  a  theatrical 
distributor.  Cammisa  believes  that  Helens  time  on  television 
ultimately  hurt  the  film's  chances  for  a  distributor. 

"Once  a  film  shows  on  TV,  theatrical  distributors  are  less 
interested,"  she  says.  "[And]  once  theatrical  was  gone,  what 
was  there  for  us  but  home  video  or  educational  distribution? 
But  then  Docurama  wanted  it  and  suddenly  there  was  anoth- 
er means  of  distributing  our  film." 

The  film's  re-release  was  a  boon  for  Sister  Helen.  "I  did  a 
screening  of  it  recently  and  afterward  people  are  asking  me, 
'Where  can  I  get  the  DVD?'  Now  I  have  somewhere  to  point 
them,"    says    Cammisa,    who    was    especially    pleased    with 


Docurama's  willingness  to  work  with  her  on  DVD  authoring, 
which  includes  designing  the  menu,  the  case,  and  any  extra 
scenes. 

"Other  documentary  filmmakers  I've  spoken  with  that  have 
had  DVDs  made  by  other  distributors,  high-end  distributors, 
have  had  huge  complaints  because  those  distributors  didn't 
allow  them  any  control  when  it  came  to  authoring,"  Cammisa 
says.  "Our  experience  was  great — the  photo,  the  cover,  the 
design.  [Docurama]  allowed  us  to  look  and  comment  and 
then  suggest  changes,  and  they  listened  to  us.  It's  so  important 
that  your  distributor  isn't  just  slapping  a  film  on  DVD,  and 
then  it's  out  in  the  world." 

Docurama's  successful  collaborations  with  filmmakers  are 
both  a  point  of  pride  and  a  source  of  satisfaction.  "We  like 
working  directly  with  the  filmmakers  because  they  know  their 
audiences  better  than  we  do,"  says  Savage. 

Since  the  light  bulb  went  off  in  Salt  Lake  City,  Docurama 
has  released  more  than  100  documentary  titles,  including  The 
Brandon  Teena  Story  (1998),  Southern  Comfort  (2001),  and 
Porn  Star:  The  Legend  of  Ron  Jeremy  (2001).  The  company  also 
boasts  a  slew  of  partnerships  that  have  brought  great  and 
important  films  to  DVD — with  Independent  Film  Channel 
{Lost  In  La  Mancha,  A  Decade  Under  the  Influence),  with 
P.O. V.,  PBS's  documentary  series,  (Lost  Boys  of  Sudan, 
Farmingville),  and  with  the  Sundance  Channel  (to  launch  the 
Sundance  Channel  Home  Entertainment  Documentary 
Collection).  For  its  part,  New  Video  keeps  plugging  along  as 
the  exclusive  label  and  distributor  for  the  A&E  Home  Video 
lines,  and  The  History  Channel.  And  although  what  the  com- 
pany has  achieved  is  clearly  remarkable,  Savage  concedes  that 
there  are  still  strides  to  be  made,  primarily  in  trying  to  con- 
vince bricks-and-mortar  video  stores  to  increase  their  docu- 
mentary shelf-space. 

"Our  work  is  not  done,"  says  Savage.  "  There  are  still  a  lot 
of  stores  where  you  won't  see  a  documentary  section.  We  have 
not  arrived,  this  is  a  work  in  progress."  ■& 


December  2005  |  The  Independent    39 


PROFILE 


Coming  Out 

Jennifer  Fox  encourages  her  subjects 
to  let  it  all  hang  out 


By  Holly  Willis 

On  a  hot  and  sticky  afternoon  last 
summer,  New  York-based  film- 
maker Jennifer  Fox  climbed  the 
stairs  to  the  stage  in  a  darkened  auditori- 
um on  the  Wells  College  campus  in 
Aurora,  New  York,  home  to  the  Creative 
Capital  artists'  retreat.  Each  of  this  year's 
Creative  Capital  grantees  had  a  mere  10 
minutes  to  dazzle  their  colleagues  and  an 
assortment  or  advisors;  the  "right"  presen- 
tation seamlessly  merged  a  little  back- 
ground info,  a  quick  sketch  of  the  project, 
and  a  film  clip  showcasing  the  artist's  tal- 
ents. Fox,  however,  wanted  her  film  to 
speak  for  itself.  Cueing  the  projectionist, 
she  stood  back  and  waited.  And  waited. 
Nothing  happened.  Caught  off  guard,  Fox 
abandoned  her  plan.  She  began  to  speak. 
"I'm  interested  in  presence,"  she  said 
quietly,  and  within  seconds,  she  was 
completely  absorbed  in  describing  her 
desire  to  capture  the  inerrable  experience 
of  screen  magic,  when  a  documentary 
subject  becomes  truly  present  in  front  of 
the  camera. 

Conjuring  this  kind  of  presence  is  one 
of  the  central  ambitions  of  Fox's  practice 
as  a  filmmaker,  and  as  she  spoke  with 
hushed  intensity,  it  was  clear  that  Fox's 
camera  could  match  forces  with  any  per- 
son facing  its  lens.  Fox,  who  has  been 
making  award-winning  films  for  more 
than  a  decade,  focuses  on  her  subjects 
with  singular  conviction  over  long  peri- 
ods of  time  and  with  a  commitment  to 
create  some  sort  or  transformation,  both 
onscreen  and  in  the  world. 

Fox  studied  creative  writing  and  jour- 
nalism at  Johns  Flopkins  University,  and 


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40  The  Independent  |  December  2005 


later  studied  filmmaking  at  New  York 
University,  but  left  in  1981  to  make  her 
first  feature  film,  Beirut:  The  Last  Home 
Movie  (1987) — a  chronicle  of  a  family's 
struggle  to  exist  in  Lebanon  during 
wartime.  She  says  that  it  took  her  a  little 
while  to  find  filmmaking.  "I  asked 
myself,  'What  could  sustain  my  life?"  she 
recalls.  "It  had  to  be  something  I  couldn't 
achieve.  It  may  sound  arrogant,  but  I 
thought  of  journalism  as  something  I 
could  master.  Whether  I  would  be  good 
at  it  or  not  is  another  issue.  But  film? 
Film  seemed  un-masterable." 

While  she  was  at  NYU,  a  classmate 
disappeared  for  several  months  and  then 
reappeared  telling  horrors  of  life  in 
Beirut.  Fox  was  captivated.  "I  heard  her 
story  and  literally  said,  'I  want  to  make  a 
film  about  your  family'  and  was  in  Beirut 
six  weeks  later,"  she  says. 

What  interested  her  was  life  lived  in 
extreme  circumstances,  and  although  she 
had  never  made  a  feature  film,  she  quick- 
ly found  a  way  to  organize  the  project. 
"The  key  for  me  was  my  friend's  older  sis- 
ter— before  we  started  filming  she  said 
that  destruction  is  more  beautiful  than 
construction,  that  going  down  has  more 
emotion  than  going  up.  I  felt  that  she 
could  speak  the  heart  of  the  story."  Fox 
shot  for  three  and  a  hall  months  and  then 
spent  the  next  six  years  trying  to  put  the 
film  together.  "I  had  no  idea  how  to 
make  a  film,"  she  says.  "We  constructed 
it  three  times,  following  different  threads. 
I  just  didn't  know  how  to  tell  a  story,  but 
either  I  was  going  to  die  or  I  was  going  to 
make  that  film." 

She  did  indeed  make  the  film,  and  it 


was  subsequently  broadcast  in  20  coun- 
tries and  won  a  long  list  of  awards, 
including  Best  Documentary  and  Best 
Cinematography  at  the  Sundance  Film 
Festival  in  1988. 

While  Beirut  explores  what  Fox  calls 
the  seduction  of  living  at  the  extremes, 
her  10-hour  PBS  series  An  American  Love 
Story  (1998)  examines  the  stress  of  living 
every  day.  The  film,  which  was  shot  over 
the  course  of  16  months  in  the  late  '90s, 
profiles  the  interracial  household  of 
Karen  Wilson,  Bill  Sims,  and  their  two 
daughters.  Fox  says  that  she  was  in  an 
interracial  relationship  herself  and  made 
the  film  in  order  to  find  out  how  people 
negotiated  the  social  and  familial  chal- 
lenges that  arise  when  a  white  woman 
and  a  black  man  share  their  lives.  "First 
and  foremost  my  films  are  real  journeys 
for  me,"  explains  Fox.  She  adds  that  she 
never  intended  to  film  for  as  long  as  she 
did,  but  got  caught  up  in  the  patterns 
and  rhythms  of  the  Wilson-Sims  house- 
hold and  what  was  revealed  there.  "I  did- 
n't want  to  be  there  just  for  the  high 
moments,"  she  explains.  "I  wanted  to  see 
people  over  time,  to  see  how  race  and 
love  and  family  happen  over  time." 

Love  Story  combines  observational 
footage  with  voiceover  fragments  spoken 
by  all  lour  family  members  in  a  complex 
mesh  of  points  of  view.  "We  typically 
don't  reveal  our  emotions  when  we  go 
through  our  day — when  we  wash  the 
dishes,  for  example,"  says  Fox.  "The 
drama  in  those  episodes  is  so  small.  So 
the  layer  constructed  in  voiceover  was 
created  in  order  to  add  in  thoughts,  to 
give   the   film    a   whole   other   narrative 


December  2005  |  The  Independent    41 


The  AIVF  Guide  to 

Film  &  Video 
Distributors 

edited  by  Rania  Richardson 

What  You'll  Find: 

Up-to-date  profiles  of  close  to  200 
distributors,  supplemented  by  "how 
to"  articles,  selected  reprints  from 
The  Independent,  and  in-depth  inter- 
views with  over  20  distributors. 
Published  to  order,  ensuring  the  most 
current  information  that's  available. 


V0D.COM 

STUDIOS:  Make  More 
Money  From  Your  Movies! 


Now  millions  of 

people  can  watch 

them  on  the  Internet 

No  cost  to  you! 
We  do  all  the  work 

and  advertising! 

lnfo@VodDollars.com 

Info  Line 

1-800-VOD-1212 

Offices 

1-800-V0D-1200 


Jennifer  Fox  travels  in  Calcutta,  India  to  visit  the  family  of  a  community  organizer  during 
production  of  Flying:  Confessions  of  a  Free  Woman  [courtesy  of  Fox] 


dimension."  She  liked  the  conflicts  that 
were  articulated  in  the  voiceovers.  "And  I 
love  interviewing — working  through 
conversations  where  you  and  the  subject 
are  both  surprised,  where  you  both  get  to 
a  place  where  there  is  a  real  moment." 

Fox's  latest  project  is  Women  &  /,  an 
expansive  and  intense  documentary 
investigation  of  the  sexual  lives  of  women 
around  the  world.  Once  again,  Fox  start- 
ed with  a  question  from  her  own  life:  "1 
couldn't  find  an  image  of  myself,"  she 
says,  explaining  that  being  a  woman 
without  a  husband  or  children  made  her 
feel  invisible.  "I  couldn't  see  myself  so  I 
had  to  make  a  film  and  say,  'See?  There 
you  are.'" 

Fox  gave  herself  several  rules  for  mak- 
ing the  film.  "First,  the  camera  had  to  be 
passed  and  everyone  in  the  room  had  to 
be  on  camera."  This  rule  is  at  the  core  of 
Fox's  attempt  to  elicit  real  presence.  "It 
creates  this  enormous  intimacy 
onscreen,"  she  says.  "And  my  goal  as  a 
filmmaker  has  always  been  this — getting 
screen  presence.  When  you  see  a  great 
performance,  it  sparkles.  But  in  docu- 
mentary filmmaking  we  don't  demand 
that  because  we're  asking  people  to  report 
on  their  lives  rather  than  be  present. 
What  I  want  is  for  the  camera  to  witness 
someone  being  alive.  But  the  camera 
stops  that  process,  because  people 
become    self-conscious.    In    passing    the 


camera,  other  people  get  to  be  observers, 
and  suddenly  the  camera  is  not  an 
observer  but  a  participant.  It  really  affects 
the  quality  of  the  conversation  and  the 
scenes." 

The  second  rule  was  that  there  was  to 
be  no  sound  person.  "The  reason  I  didn't 
bring  a  sound  person  is  for  the  intimacy. 
If  I  had  brought  another  person,  I'd  be 
more  comfortable  than  the  people  I 
spoke  with.  But  I  didn't  want  to  be  com- 
fortable. I  wanted  to  need  to  make 
friends.  The  film  is  all  about  those  friend- 
ships. If  I  had  had  someone  traveling 
with  me,  I  would  have  been  much  more 
secure,  but  I  would  have  been  a  worse 
subject.  And  the  subjects  in  front  of  me 
would  have  been  less  open." 

Fox,  who  used  a  tiny  Sony  PDX10 
camera,  says  that  shooting  the  film  alone 
was  challenging.  "It  was  difficult  finding 
an  aesthetic  that  didn't  get  in  the  way  of 
my  spontaneity,"  she  says.  "One  of  the 
principles  of  the  project  was  not  to  be 
precious  with  videotape.  As  soon  as  you 
become  precious,  you  start  to  control 
things,  to  make  pretty  shots.  And  if  I  did 
that  I  couldn't  be  myself.  It's  taken  a 
while  to  find  a  balance  between  aesthetics 
and  lightness." 

Fox  also  worked  on  the  way  she 
approached  her  subjects,  who  were  a  mix 
of  friends  and  strangers  dispersed  across 
17  countries.  "I  am  a  naive  person,  really, 


42  The  Independent  |  December  2005 


and  I'm  truly  curious  about  other  people, 
so  I've  used  being  open  as  a  strategy  to 
have  other  people  be  open.  But  in  some 
cultures,  being  open  isn't  always  positive. 
In  Pakistan  or  Cambodia,  for  example, 
sharing  may  be  seen  as  crossing  bound- 
aries. And  as  is  always  the  case,  talking 
about  sexuality  can  either  open  doors  or 
close  doors.  In  Pakistan,  with  some 
women,  my  openness  made  them  open, 
but  in  other  cases,  I  appeared  to  be  a  crass 
Westerner.  It's  less  culturally  defined  than 
personally  defined,  though.  One  of  the 
premises  of  the  film  is  that  we're  more 
alike  than  we  think." 

Fox  discovered  that  not  only  are 
women  across  the  world  alike  in  many 
ways,  but  their  lives  aren't  really  being 
shown.  "Whether  we're  single  or  married, 
we're  living  much  more  sexual,  much 
more  complicated  lives  than  the  stories 


Fox's  Women  &  /investigates  female  identity 
across  countries  [courtesy  Creative  Capital] 


would  allow  you  to  believe,"  says  Fox, 
"and  we  need  to  come  out." 

For  Fox,  "coming  out"  can  be  facilitat- 
ed by  the  sharing  of  the  camera.  "A  cam- 
era can  often  be  used  to  take  away  pres- 
ence," she  says.  "But  when  you  bring 
presence,  people  feel  more  alive,  more 
aware.  There  are  surprises,  people  learn 
things,  and  sometimes  a  camera  catches 
something  real,  like  when  you  say  some- 
thing that  you've  never  said  before.  Then 
a  person  feels  an  ah-ha,  and  that  process 
of  learning  about  yourself  is  incredibly 
valuable." 

These  camera-inspired  revelations 
constitute  the  core  of  a  filmmaking  prac- 
tice aimed  at  nothing  less  than  transfor- 
mation. Says  Fox:  "I  want  to  be  living 
when  I  make  films.  I  don't  want  to  just  be 
making  them.  I  want  to  be  transformed 
by  the  stories  I'm  filming."    ^k 


Gary  Kolb 


February  24  thru  March  5,  2006 
Deadline  for  entries:  January  15,  2006 

www.bigmuddyfilm.com 


December  2005  |  The  Independent    43 


TO 

Shooting  a  Robbery 

He  didn't  set  out  to  make  a  documentary... 


By  Rusty  Nails 

There  are  a  few  things  in  life  that 
that  we  all  need,  but  that  many 
people  take  for  granted — things 
like  food,  safety,  heat,  and  a  home. 
Watching  a  blind  veteran  fight  to  keep  a 
superhighway  from  running  through 
property  he'd  owned  tor  30  years  is  a  gut 
wrenching  sight.  As  the  Bush 
Administration  closes  its  fist  on  the  rights 
of  American  citizens,  consumer  brand 
video  cameras  may  be  one  of  the  last 
potential  sources  to  record  what  is  going 
on  in  our  communities.  This  is  the  story 
of  how  a  blind  man  and  his  family  fought 
to  save  their  land  and  home. 

To  be  honest,  I  never  really  thought  of 


making  a  documentary — never  felt  the 
urge  or  artistic  need.  For  me,  fiction  films 
were  the  thing.  I  wanted  to  create  new 
landscapes,  the  kind  that  existed  in  my 
mind,  hoping  to  find  an  audience  for  my 
fledgling  cinematic  offspring.  But  in  the 
summer  of  2000,  I  was  a  freelance  video- 
grapher  for  a  dot.com  called  Supersphere. 
The  site  was  great — its  content  dealt  with 
underground-alternative-independent 
music,  films,  and  fanzines,  and  also 
included  a  left-bent  political  section  that 
covered  basic  human  rights  and  political 
issues.  One  of  my  first  jobs  for 
Supershere  was  to  grab  a  camera  and  go 
to  Rockford,  Illinois,  an  hour  and  hall 


drive  from  Chicago,  to  tape  a  group  of 
people  protesting  the  "quick-take"  (a 
faster  version  of  eminent  domain)  of  a 
blind  veteran  cowboy's  land. 

We  arrived  at  Tom  Ditzler's  property 
late  in  the  evening  and  slept  in  my  friend 
Jay's  van.  Early  the  next  morning,  we 
filmed  protesters  putting  mud  on  trees  to 
dissuade  the  landscapers  from  cutting 
them  down.  Throughout  the  day  I  got  to 
speak  with  Tom  and  his  wife,  Jan  Ditzler, 
a  number  of  times  and  was  quickly  drawn 
to  their  warm  and  inviting  personalities. 
Tom,  a  handsome  65-year-old  gentle- 
man, lost  his  sight  at  18  years  old  when 
he  was  serving  in  the  army  and  a  recon- 


44  The  Independent  |   December  2005 


Tom  Ditzler  [courtesy  Rusty  Nails] 


naissance  flare  went  off  prematurely.  He 
and  his  wife  bought  the  17-acre  farm  in 
question  to  raise  horses,  and  to  maintain 
a  place  with  which  Tom  could  be  familiar 
enough  to  navigate  by  himself.  The 
Ditzlers  treasured  the  land — as  many  had 
long  before  them — which  hosts  wetlands, 
Native  American  burial  grounds,  and  an 
endless  trail  of  artifacts. 

How  could  the  government  seize  these 
people's  land  to  build  an  unnecessary 
road  that  would  cost  the  taxpayers  17 
million  dollars — especially  since  there 
was  an  alternate  route  an  eighth  of  a  mile 
away  that  would  only  cost  $3  million 
dollars  to  construct? 

After  I  finished  shooting  the  footage  for 
Supersphere,  I  kept  going  back  to 
Rockford  to  videotape  and  help  save  the 
Ditzlers  land  by  alerting  people  to  their 
situation — this  time  borrowing  a  Sony 
TRV-900,  a  microphone,  and  a  tripod 
from  my  job.  With  no  car,  I  found  myself 
convincing  friends  to  drive  to  Rockford 
with  me,  which  proved  an  important  way 


to  get  people  involved  while  keeping  my 
costs  ridiculously  cheap.  All  I  needed  was 
gas  and  miniDV  tapes.  Each  new  person  I 
brought  loved  the  Ditzlers  and  did  what 
they  could  to  help.  My  friend  Esther  tried 
to  get  them  on  the  Oprah  Winfrey  Show  to 
raise  awareness  about  their  situation...  it 
didn't  happen.  When  1  couldn't  round  up  a 
willing  party,  I  took  the  camera  and  tripod 
on  the  bus  which  cost  $26  round  trip. 

Before  long,  I  realized  I  was  making  a 
feature  documentary.  In  the  beginning  I 
wasn't  completely  sure  of  what  to  do — I 
taped  anything  that  seemed  important — 
the  Ditzlers  in  their  daily  routines  as  well 
as  fighting  the  courts.  It  soon  became 
clear  which  events  or  personal  moments 
might  be  important  to  the  story. 

When  I  first  started  taping,  I  didn't 
really  know  how  to  use  the  camera,  but 
within  a  couple  of  weeks  I  became  com- 
petent enough  to  shoot  while  simultane- 
ously asking  questions,  although  I  didn't 
really  want  to  do  both.  I  enlisted  the  help 
of  my  friend  Jonathan  who  had  free 
access  to  a  Canon  XL-1.  Comparatively, 
I  liked  the  portability,  sound  capabilities, 
and  low  light  possibilities  of  the  Sony 
TRV  900,  but  the  Canon  had  a  crisper 
image  when  shooting  with  a  lighting  set 
up.  I  liked  both  cameras  for  different  rea- 
sons. I  didn't  own  any  lighting  equip- 
ment so  I  used  lamps  and  household 
lights.  Later  we  borrowed  a  couple  $40- 
floodlights  a  friend  had  bought  from  a 
hardware  store  for  additional  lighting. 

Bringing  a  cameraperson  with  me 
made  things  easier  as  far  as  interviewing 
my  subjects.  I  felt  more  comfortable  not 
having  to  set  up  a  shot,  ask  questions, 
and  keep  the  camera  steady  during  hand- 
held situations.  But  there  were  also 
moments  when  I  preferred  to  have  the 
camera  in  hand — it  gave  me  a  sense  of 
urgency  and  empowerment,  and  the 
courage  to  ask  tough  questions  to  irritat- 
ed or  aggressive  subjects.  I  tried  to  stay 
away  from  television  style  close-ups. 
Nothing  says  TV  documentary  to  me  like 
an  endless  series  of  talking-head  inter- 
views. We  began  editing  in  2001  and  I 
continued  shooting,  when  necessary,  for 
the  next  four  years. 

Editing  the  piece  has  been  the  hardest 
part  of  the  process.   My  first  editor  didn't 


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A  7-minute  personal  doc  called  The  Ramones  and  I  [Rusty  Nails] 


have  the  time  to  give  the  project  the  care  it 
needed,  and  so  he  recruited  our  friend 
Chuck.  Chuck  didnt  have  much  editing 
experience.  This,  combined  with  my  lack 
of  a  solid  story  direction,  led  to  two  years 
of  chaos.  We  had  42  hours  of  footage  to 
trudge  through  and  neither  of  us  knew 
how  to  turn  it  into  a  solid  piece.  Chuck 
got  a  number  of  editing  jobs  and  proved  to 
be  a  quick  learner,  which  needless  to  say, 
was  crucial  to  the  project. 

Editing  a  traditional  narrative  fiction 
film  is  one  thing;  putting  together  a  docu- 
mentary dealing  with  complex  issues,  legal 
problems,  a  family's  personal  life,  and  their 
public  battle  with  a  corrupt  local  govern- 
ment is  entirely  different.  Our  first  rough 
cut  was  2  hours  and  30  minutes,  and  still 
didnt  clearly  convey  the  story.  We 
screened  this  version  for  six  friends — they 
barely  knew  what  to  say;  the  documentary 
was  a  rambling  mess.  It  was  important  for 
us  to  hear  this  and  we  gathered  their  com- 
ments ("We  want  to  see  the  family  more." 
"We  don't  know  enough  what  a  quick  take 
is."  "Was  Tom  always  blind? ")  and  dis- 
cussed which  problems  we  needed  to 
address.  It  was  important  for  us  to  take  the 
criticism  in  a  clinical  way;  the  documen- 
tary was  our  patient  and  we  wanted  it  to 
be  healthy  enough  to  thrive  amid  the 
general  public. 


As  we  continued  the  editing  process,  we 
realized  there  was  very  little  coverage  of 
Kris  Cohn,  the  county  board  chairperson 
responsible  for  setting  the  road  construc- 
tion into  motion.  Kris  refused  to  give  us  an 
interview,  but  I  was  able  to  gain  access  at  a 
local  television  station  and  obtained  cru- 
cial footage  of  the  Ditzlers,  Kris  Cohn,  and 
aerial  shots  of  the  property  free  of  charge. 

In  the  last  year  we  went  from  a  1 60- 
minute  cut  to  the  88-minute  version  we 
are  currently  working  with.  We  found  that 
we  had  been  needlessly  reiterating  a  num- 
ber of  ideas  in  the  film,  and  decided  that 
less  can  be  more.  We've  continued  to  show 
the  film  in  rough  to  final  cut  form,  to 
friends,  filmmaking  peers,  and  even  a 
recent  festival  audience,  continuing  our 
quest  for  the  best  cut  possible. 

The  budget  for  Highway  Robbery,  five 
years  in  the  making,  is  about  $2,250.  This 
included  mini-DV  tapes,  external  hard 
drives  for  the  computer,  gas  and  food.  And 
in  the  time  since  I  first  started  shooting  the 
film,  I  made  a  7-minute  personal  doc 
called  The  Ramones  and  I,  and  have  also 
begun  work  on  another  feature  documen- 
tary about  Ceorge  A.  Romero,  called  Dead 
On:  The  Life  and  Cinema  of  George  A. 
Romero.  Maybe  there  is  a  bit  of  a  docu- 
mentary filmmaker  in    me  after  all.    :*: 


46  The  Independent  I  December  2005 


LEGAL 

The  Many 
Meanings 

of 
"Fair  Use" 

How  and  when  to 
get  permission, 
even  when  it 
seems  unnecessary 

By  Fernando  Ramirez,  Esq. 

So  your  documentary  has  commer- 
cial interest  and  high  revenue  earn- 
ing potential.  And  you've  secured 
all  of  the  agreements,  releases,  and  licens- 
es for  the  film,  except  for  one  piece  of  vin- 
tage footage  that's  not  quite  in  the  public 
domain  (material  which  can  be  used 
freely  by  anyone  because  it  was  created 
before  1923),  but  it's  "pretty  old."  Then 
there's  that  one  famous  singer  who  sup- 
ports charitable  causes  like  the  one  cov- 
ered in  your  documentary,  but  whom  you 
couldn't  get  to  "donate"  her  music,  so 
instead  you  hire  her  former  back-up 
singer  to  impersonate  her  voice.  You  think 
to  yourself,  "This  is  all  'fair  use,'  so  I  don't 
really  need  a  release  or  a  license — my  doc- 
umentary is  clearly  historical  and  educa- 
tional," despite  the  fact  that  a  major  pro- 
grammer or  distributor  is  interested. 

Although  under  some  circumstances 
"fair  use"  allows  you  to  use  copyrighted 
work  without  the  consent  of  the  copyright 
owner  (i.e.,  for  reporting  the  news  or  edu- 
cational use  such  as  photocopies  for  the 
classroom),  the  rule  should  never  be  relied 
upon  as  a  means  for  using  someone  else's 
work  without  permission.  Fair  use  is  not  a 
substitute  for  proper  clearance.  It's  a 
defense  to  a  lawsuit  for  copyright  infringe- 
ment.  Which   means   that   by  the   time 


you've  invoked  fair  use,  you're  probably 
in  the  middle  of  a  costly  lawsuit. 

Take  for  example  The  Definitive  Elvis, 
a  16-hour  video  documentary  about  the 
life  of  Elvis  Presley.  The  project  was  a  $2 
million  venture.  At  one  point  it  was  avail- 
able for  purchase  for  $99  retail.  But  now 
you  can't  rent  or  buy  it  anywhere.  And 
that's  because  the  filmmakers  used  copy- 
righted material,  including  footage  of 
Elvis  on  "The  Ed  Sullivan  Show." 
Instead  of  paying  for  various  licenses  (i.e., 
paying  the  owners  of  the  footage  $10,000 
per  minute  of  footage),  Passport 
Entertainment,  the  producers/distribu- 
tors, relied  on  fair  use.  Big  mistake.  The 
court  said  no  to  their  fair  use  argument, 
and  stopped  distribution  and  sale  of  the 
documentary.  It  seems  that  although  a 
documentary  about  the  King  has  "biog- 
raphical," "newsworthy,"  and  "historical" 
value,  the  clips  usage  was  actually  "com- 
mercial," in  part  because  the  documen- 
tary was  never  advertised  as  a  "scholarly 
critique"  or  "historical  analysis."  The 
court  viewed  the  use  more  as  an  attempt 
to  profit  from  the  "entertainment  value" 
of  the  clips  without  paying  a  licensing  fee 
to  the  copyright  owners. 

There  have  been  other  cases  involving 
fair  use,  including  TNT  and  the 
Muhammad  Ali  film  When  We  Were  Kings 
(1996),  Universal  Picture's  Twelve 
Monkeys  (1995),  and  New  Line  Cinema's 
film  Seven  (1995).  Some  were  ruled  in 
favor  of  fair  use,  but  the  majority  were 
not,  and  although  most  of  these  cases 
have  not  involved  documentaries,  the 
rules  are  for  the  most  part  applicable  to 
them  as  well,  especially  in  light  of  the 
genre's  increasing  commercial  appeal. 
Until  the  fair  use  law  is  changed  to  favor 
documentaries  by  a  clear  Supreme  Court 
decision  or  federal  legislation,  filmmakers 
should  err  on  the  side  of  caution  and 
always  secure  releases  and  licenses. 

There  are  various  types  of  releases  and 
licenses  a  documentary  filmmaker  will 
use  or  be  asked  to  sign  during  produc- 
tion. Releases  are  necessary  to  avoid 
claims  of  Right  of  Privacy  (unconsented 
use  or  dissemination  of  information 
about  an  individual's  private  life)  and 
Right  of  Publicity  (the  right  of  an  indi- 
vidual to  control  the  commercial  use  of 


his  or  her  identity,  name,  voice,  or  like- 
ness). Personal  releases  and  location  releas- 
es are  generally  needed  to  film  individuals 
and  places. 

Personal  Releases  are  necessary  to 
secure  permission  to  record  and  to  exploit 
an  individual's  appearance  in  a  documen- 
tary, unless  the  individual  is  unrecogniz- 
able (i.e.,  part  of  a  crowd  of  faceless  peo- 
ple). A  typical  release  should  include: 

*  the  specific  rights  being  granted  by 
the  individual  (i.e.,  the  right  to  reproduce, 
copy,  and  modify  the  individual's  name, 
pseudonym,  image,  likeness,  voice  in  any 
media); 

*  duration  and  scope  (i.e.,  unrestricted 
absolute,  perpetual,  worldwide  rights); 

*  a  waiver  of  rights  to  safeguard  against 
future  claims  and  lawsuits  of  defamation, 
invasion  of  privacy,  and  right  of  publicity; 

*  the  filmmaker's  full  and  sole  owner- 
ship of  the  footage; 

*  the  filmmaker's  discretion  to  transfer 
the  rights  without  any  encumbrances; 

*  warranty  that  the  individual  is  over 
the  age  of  18  or  parental/guardianship 
consent  if  the  individual  is  a  minor. 

Location  Agreements  are  used  any 
time  a  documentary  filmmaker  shoots  a 
scene  in  property  that  doesn't  belong  to 
the  filmmaker.  It  could  be  a  home,  apart- 
ment, gym,  school,  or  grocery  store.  In 
addition  to  some  of  the  points  discussed 
in  the  Personal  Release,  the  filmmaker 
should  include  and  remember  the  follow- 
ing: 

*  the  specific  address  of  the  location; 

*  duration  of  shoot  with  date  and  time, 
including  provisions  in  case  of  unexpected 
delays; 

*  consent,  if  needed,  to  move  furniture, 
fixtures,  displays,  etc.; 

*  the  money  paid,  if  any,  for  use  of  the 
space; 

*  if  the  location  is  a  public  area,  to 
research  local  permitting  requirements; 

*  never  presume  that  a  Location  Release 
allows  the  right  to  shoot  copyrighted 
material  in  the  background  such  as  art- 
work, advertisements,  etc. 

In  addition  to  securing  proper  releases, 
the  following  are  some  pointers  documen- 


December  2005  |  The  Independent    47 


Premieres  on  INDEPENDENT  LENS, 
Tuesday,  November  22  at  10  P.M.  on  PBS 

Check  local  listings  at 
www.pbs.org/independentlens 

JltVS       [ilNDEPENDENriENS      ©pes 


a  film  festival  in  your  living  room 


w 


# 


NMC 


tary  filmmakers  should  bear  in  mind: 

*  Never  presume  that  "acknowledging" 
or  giving  "credit"  is  good  enough. 

*  Review  footage  carefully  to  spot  all 
people  and  objects  incorporated  in  the 
film. 

*  Unless  you  can  secure  a  release  or 
license,  make  sure  that  radios  or  music 
devices  are  not  playing  in  the  background. 

*  Turn  those  televisions  off  unless  you 
plan  on  "patching"  the  image.  This  applies 
to  scenes  where  unlicensed  material  such  as 
photos  and  paintings  are  visible  even  if  you 
think  they  are  not  in  perfect  focus  or  are 
obscured. 

*  Do  not  use  "sound-alikes"  in  lieu  of 
permission.  For  example,  although  not  a 
documentary,  it  didn't  work  for  the  Ford 
Motor  Company  and  their  advertising 
agency  when  they  used  a  Bette  Midler 
sound-alike  to  imitate  her  voice  for  a  com- 
mercial. The  court  found  that  it  was  a  vio- 
lation of  her  right  of  publicity  to  imper- 
sonate her  distinctive  voice. 

*  When  in  doubt,  cut  it  out. 

Much  has  been  said  about  Robert 
Greenwald's  documentary  Outfoxed: 
Rupert  Murdoch's  War  on  Journalism  (2004). 
Yes,  Greenwald  used  clips,  owned  by  Fox 
News,  to  critique  what  he  believed  was  the 
networks  bias  toward  the  Right,  and  Fox 
didn't  sue  him.  But  had  they  been, 
Greenwald  had  a  well-known  legal  scholar 
and  a  law  firm  prepared  to  defend  him. 
Most  documentary  filmmakers,  even  those 
with  projects  that  fit  squarely  within  a 
scholarly  critique  or  historical  analysis, 
can't  afford  the  luxury  of  keeping  a  legal 
scholar  and  a  qualified  litigator  on  retainer. 

Getting  permission  by  way  of  properly 
drafted  releases  and  licenses  is  the  way  to 
go.  It  can  raise  a  production  budget,  but 
failure  to  do  so  could  result  in  costly  litiga- 
tion including  damages  or  a  court  order 
stopping  the  distribution  or  exhibition  of 
your  documentary.  Note  that  in  the  Elvis 
Presley  example,  the  documentary  film- 
makers' claim  that  thousands  of  units  had 
been  shipped  to  retail  outlets  and  distribu- 
tors was  not  enough  to  discourage  the 
court  from  rejecting  their  fair  use  argu- 
ments, and  stopping  the  distribution  and 
further  sale  of  the  documentary,    ~fc 


48  The  Independent  I  December  2005 


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ASHLAND  INDEPENDENT  FILM  FESTIVAL.  April 
6-10,  OR.  Deadline:  Nov.  18;  Dec.  9  (final); 
Dec.  16  (w/outabox  extended).  The  Ashland 
Independent  Film  Festival  is  an  "intense" 
five  day  event  that  actively  promotes  dia- 
logue between  filmmaker  &  audience  in  an 
intimate  setting.  Cats:  feature,  doc,  student, 
short,  animation,  experimental,  children. 
Awards:  Juried  and  Audience  awards.  . 
Formats:  35mm,  Beta  SR  DVD.  Preview  on 
VHS  or  DVD.  Entry  Fee:  $30-$60;  w/out- 
abox/student  entries  $5  discount;  Southern 
Oregon  residents  no  fee.  Contact:  Festival; 
(541)  488-3823;  fax:  488-7782;  info@ash 
landfilm.org;  www.ashlandfilm.org. 

ATHENS  INT'L  FILM  &  VIDEO  FESTIVAL,  April 
28-May  4,  OH.  Deadline:  Jan.  30  .  Annual 
test  celebrating  independent,  documentary 
&  experimental  works.  Each  entry  is  pre- 
screened  by  a  committee  of  artists.  Works 
w/  high  regard  for  artistic  innovation,  sensi- 
tivity to  content  &  personal  involvement  w/ 
the  medium  are  welcomed.  Cats:  feature, 
doc,  short,  experimental,  animation. 
Awards:  Cash  awards.  Formats:  35mm, 
16mm,  1/2','  Beta,  Beta  SR  mini-DV  Preview 
on  VHS  (NTSC)  or  DVD.  Entry  Fee:  $35,  plus 
s.a.s.e./insurance.  Contact:  Ruth  Bradley; 
(740)  593-1330;  fax:  597-2560; 
bradley@ohiou.edu;  www.athensfest.org. 


BARE  BONES  INT'L  INDEPENDENT  FILM 
FESTIVAL,  April  17-13,  OK.  Deadline:  Nov.  1; 
Dec.  31;  Jan. 26  (final).  Projects  budgeted 
for  less  than  a  million  dollars  are  eligible  to 
enter  the  fest.  Seven  days  of  screenings, 
workshops,  screenplay  readings,  location 
tour,  youth  film  projects.  Cats:  feature,  doc, 
short,  animation,  experimental,  script, 
music  video,  student,  youth  media. 
Awards:  Auteur  of  the  Year;  Audience 
Choice  Award;  Grand  Jury  Awards. 
Formats:  35mm,  16mm,  Most  Video  for- 
mats. Entry  Fee:  $20-$50.  Contact:  Shiran 
Butterfly  Ray;  (918)  616-1335;  barebones 
filmfestival@yahoo.com;  www.barebones 
filmfestival.com. 

DANCE  CAMERA  WEST,  Month  of  June,  CA. 
Deadline:  Dec.  17;  Jan.  21  (final).  Looking 
for  works  that  reflect  "a  hybridized  genre 
that  merges  both  performance  &  cinematic 
aesthetics,  w/  an  emphasis  on  choreogra- 
phy made  for  the  screen."  Cats:  feature, 
doc,  experimental,  any  style  or  genre, 
installation.  Formats:  Beta  SPVHS  or  DVD. 
Entry  Fee:  $20-40.  Contact:  Festival;  (213) 
480-8633;  lkessler@dancecamerawest.org; 
dancecamerawest.org. 

DANCES  W/ FILMS,  July  21-27,  CA.  Deadline: 
early:  Jan  2nd;  standard:  Apr.  24;  Late:  May 


29.  All  films  admitted  for  screening  are 
selected  using  only  one  major  criterion: 
they  must  have  been  completed  w/out  any 
known  director,  actors,  producers,  or 
monies  from  known  sources  (e.g.,  known 
production  companies).  Films  must  have 
been  completed  by  Jan.  1  of  previous  year. 
Founded:  1998.  Cats:  family,  youth  media, 
feature,  doc,  short,  animation,  experimen- 
tal. Formats:  Beta  SR  16mm,  35mm,  DV, 
HD.  Preview  on  VHS.  Entry  Fee:  Entry  Fee: 
early  deadline  50  feature/35  short;  standard 
deadline  60  feature/40  short;  late  deadline 
75  both.  Contact:  Leslee  Scallon;  (323)  850- 
2929;  fax:  850-2928;  mfo@dances 
w/f ilms.com;  www.DancesWithFilms.com. 

DC  INDEPENDENT  FILM  FESTIVAL  &  MARKET, 

March  2-12,  DC.  Deadline:  Nov.  15;  Dec.  15 
(final).  Fest  also  incls.  seminars,  a  film  mar- 
ket, a  trade  show  which  offers  an  opportu- 
nity for  industry  companies  to  showcase 
their  services  &  latest  technological 
advances  plus  network  in  the  country's 
third  most  important  production  communi- 
ty. Founded:  1999.  Cats:  feature,  short,  ani- 
mation, doc.  Awards:  $50,000  in  cash  & 
prizes.  Formats:  35mm,  Beta  SR  1/2','  DVD. 
preview  on  VHS  (NTSC).  Entry  Fee:  $15 
shorts  (up  to  30  mm.);  $25  features. 
Contact:  c/o  DC  Independent  Film  Festival; 


December  2005  |  The  Independent    49 


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tel  (212)  631-0435 

web:  www.prodcentral.com 
email:  david@prodcentral.com 


(202)  537-9493;  fax:  686-7168;  dcindiefilm 
fest@aol.com;  www.dciff.org. 

DELRAY  BEACH  FILM  FESTIVAL,  March  8  12, 
FL.  Deadline:  early:  Oct  7;  Regular:  Nov.  4; 
Late:  Dec.  16.  More  than  just  a  film  fest, 
this  event  offers  filmmakers  a  fun,  warm, 
beautiful  place  to  meet,  mingle  &  party. 
The  relaxed  &  welcoming  atmosphere  will 
be  a  breath  of  fresh  air  to  any  filmmaker 
who  has  been  busy  producing  or  promoting 
their  film.  Entry  Fee:  $5-35.  Contact: 
Michael  Posner;  (561)  213-5737;  mike@del 
raybeachfilmfestival.com;  www.delray 
beachfilmfestival.com. 

FILM   FLEADH:  THE  IRISH   FILM   FESTIVAL, 

March  TBA,  NY.  Deadline:  Dec.  30.  An 
annual  fest  open  to  films  made  in  Ireland, 
or  by  an  Irish  filmmaker,  or  by  a  filmmaker 
of  Irish  descent  living  outside  Ireland,  or  w/ 
an  Irish  actor  in  the  lead.  Cats:  feature,  doc, 
short,  animation,  Live  Action.  Awards:  Cash 
awards  (Kodak)  to  best  feature  &  short. 
Formats:  35mm,  16mm,  DV,  Beta, 
DigiBeta,  DVD.  Preview  on  VHS.  Entry  Fee: 
$25.  Contact:  Terence  Mulligan, 
Fest  Dir.;  (212)  414-2688;  fax:  (212)  675- 
5822;  the411@thecraicfest.com;  www.the 
craicfest.com. 

FIRSTGLANCE:  PHILADELPHIA  FILM  FESTIVAL, 

June  1-4,  PA.  Deadline:  Jan.  1;  Jan.  15 
(final).  Fest  encourages  student  &  profes- 
sional film  &  videomakers  at  all  levels  for 
underground  alternative  event  whose  mis- 
sion is  to  exhibit  all  genres  of  work,  from 
mainstream  to  controversial,  in  a  competi- 
tive, casual  atmosphere.  Winners  will  also 
screen  in  Hollywood.  Founded:  1996.  Cats: 
animation,  experimental,  student,  feature, 
doc,  short,  any  style  or  genre,  TV.  Awards: 
Over  $50,000  in  prizes.  Formats:  16mm,  all 
digital  formats,  35mm.  Preview  on  VHS 
(NTSC)  &  DVD.  Entry  Fee:  $30-$60. 
Contact:  Firstglance  Films;  (818)  464-3544; 
(215)  552-8566;  wropro1@msn.com; 
www.firstglancefilms.com. 

FULL  FRAME  DOC  FILM  FESTIVAL,  April  6-9, 
NC.  Deadline:  Oct.  15,  Nov.  15,  Dec.  15 
(final).  Films  cannot  be  longer  than  180 
mm..  Cats:  doc.  Formats:  35mm,  16mm, 
Beta  SP  DigiBeta.  preview  on  VHS/DVD. 
Entry  Fee:  $35;  $45;  $55  (final).  Contact: 
Phoebe   Brush;   (919)  687-4100;  fax:  687- 


4200;  phoebe@fullframefest.org;  www.full 
framefest.org. 

GEORGE  FOSTER  PEABODY  AWARDS,  June 
5th,  GA.  Deadline:  Jan.  17  Awards  recog- 
nize "distinguished  achievement  &  merito- 
rious public  service"  by  domestic  &  int'l 
radio,  internet  &TV  nets,  stations,  produc- 
ing orgs,  cableTV  orgs  &  individuals.  All  pro- 
gram entries  must  be  for  programs  broad- 
cast, cablecast  or  released  for  nonbroad- 
cast  distribution  during  calendar  yr.  preced- 
ing jurying  process.  Founded:  1940.  Cats 
TV.  Awards:  Statuette.  Award.  Cats:  News 
Entertainment;  Programs  for  Children 
Education;  Doc;  Public  Service;  & 
Individuals,  Institutions  or  Organizations. 
Formats:  1/2','  Beta  SP  CD-ROM,  DVD, 
Web.  Entry  Fee:  $150  (radio),  $250  (televi- 
sion, internet).  Contact:  Horace  Newcomb; 
(706)  542-3787;  fax:  542-9273; 
Peabody@arches.uga.edu; 
www.peabody.uga.edu 

HI  MOM!  FILM  FESTIVAL,  June  9-10,  NC 
Deadline:  Jan.  1  (early);  Mar.  1  (final). 
Festival  is  accepting  short  shorts  &  not-so- 
short  shorts  w/  deep  thoughts  &  shallow 
pockets.  Awards:  Cash  &  non-cash  prizes 
awarded.  Formats:  DVD,  Beta  SP  Hi8,  CD- 
ROM,  super  8,  35mm,  16mm,  1/2','  Mini- 
DV  Preview  on  VHS  (PAL  or  NTSC).  Entry 
Fee:  None  (early);  $15  (final).  Contact:  Matt 
Hedt;  (919)  967-4338;  himomfilmfest 
©mindspring.com;  www.himomfilmfesti 
val.org. 

HUMAN  RIGHTS  WATCH  INT'L  FILM  FESTIVAL, 

New  York,  TBA,  NY.  Deadline:  Dec.  20.  Fest 
takes  place  at  the  Walter  Reade  Theater  at 
Lincoln  Center  &  is  co-presented  by  the 
Film  Society  of  Lincoln  Center.  Fest  was 
created  to  advance  public  education  on 
human  rights  issues  &  concerns.  Highlights 
from  the  fest  are  presented  in  a  growing 
number  of  cities  around  the  world.  Cats: 
feature,  doc,  short,  any  style  or  genre. 
Awards:  Nestor  Almendros  Award  for 
$5,000..  Formats:  35mm,  16mm,  3/4','  Beta 
SP  DigiBeta,  DV.  Preview  on  VHS  (preview 
tapes  are  not  returned,  they  are  recycled)  or 
DVD.  Entry  Fee:  No  entry  fee.  Contact: 
John  Anderson;  (212)  216-1263;  fax:  736- 
1300;  andersj@hrw.org;  www.hrw.org/iff. 

HUMBOLDT  INT'L  SHORT  FILM  FESTIVAL,  April 


50  The  Independent  |  December  2005 


1-  8,  CA.  Deadline:  Jan.  27;  Feb.  17  (final). 
The  39th  Humboldt  Int'l  Short  Film  Festival 
is  the  oldest  continuous  student-run  test  in 
the  world.  Whether  you  are  a  first  time  film- 
maker in  the  process  of  developing  your 
unique  visual  style,  or  an  established  inde- 
pendent continuing  to  push  the  limits  of  the 
mediums,  the  Festival  invites  you  to  submit 
your  16mm  film  or  digital  vido.  Films  must 
be  under  45  mm.  in  length  &  completed  in 
the  last  three  years.  Founded:  1967  Cats: 
narrative,  experimental,  animation,  doc,  & 
the  "you  call  it"  category,  short,  any  style  or 
genre.  Awards:  More  than  $3,000  in  cash  & 
prizes.  .  Formats:  16mm,  Digital  Video. 
Preview  on  VHS/DVD.  Entry  Fee:  $10 
(under  9  mm.);  $20  (10-29  mm.);  $30  (30-60 
mm);  $10  additional  for  Int'l  entries  . 
Contact:  Ivy  Matheny;  (707)  826-4113; 
fax:  826-4112;  filmfest@humboldt.edu; 
www.humboldt.edu/~filmfest. 

IOWA  CITY  INT'L  DOC  Festival,  Apr  11-15,  IA 
Deadline:  Dec.  1 ;  Jan  16;  final  Feb  1.  A  com- 
petitive test  showcasing  short  documen- 
taries. Length  of  entries  is  limited  to  30 
min.  Festival  seeks  short  documentaries  of 
30  min  or  less.  The  definition  of  a  "docu- 
mentary" is  open  to  wide  interpretation 
Founded:  2002.  Cats:  doc,  short.  Awards: 
Cash  prizes.  Formats:  35mm,  16mm, 
video.  Preview  on  VHS.  Entry  Fee:  $25;  $30 
(final).  Contact:  T.Seeberger;  (319)  335- 
3258;  mfo@ICDocs.org;  www.icdocs.org. 

LOS  ANGELES  FILM  FESTIVAL,  June  16  26, 
CA.  Deadline:  Jan.  14;  Feb.  18  (final:  shorts, 
music  video);  March  1  (final:  features).  Fest 
showcases  the  best  of  American  &  int'l 
independent  cinema.  The  fest  screens  over 
80  features  &  60  shorts.  Fest  is  widely  rec- 
ognized as  a  world-class  event,  uniting 
emerging  filmmakers  w/  critics,  scholars, 
film  masters,  &  the  movie-loving  public. 
Founded:  1995.  Cats:  Feature,  Doc,  Short, 
Animation,  Music  Video,  Student.  Awards: 
Narrative  Competition  receives  a  $50,000 
cash  grant,  Doc  Competition  winner 
receives  a  $25,000  cash  grant,  both  funded 
by  Target  Stores.  Formats:  16mm,  35mm, 
DigiBeta,  HD.  Preview  on  VHS  or  DVD. 
Entry  Fee:  $50/$65  (features);  $35/$45 
(shorts);  $20/$30  (music  videos).  Contact: 
Varky  James;  (310)  432-1208; 
lafilmfest@ifp.org;  www.lafilmfest.com. 


MAGNOLIA  INDEPENDENT  FILM  FESTIVAL, 

Feb.  16-18,  MS.  Deadline:  Jan.  1.  Fest 
keeps  the  independent  spirit  of  cinema 
alive  &  well  &  moving  forward  in 
Mississippi.  The  first  film  fest  in  the  state, 
the  fest  goes  out  of  its  way  to  present  the 
best  of  independent  films  of  all  lengths  & 
genres,  also  to  treat  participating  filmmak- 
ers to  a  fabulous  time.  Founded:  1997  Cats: 
Feature,  Short,  Doc,  youth  media,  experi- 
mental, animation.  Awards:  Cash  prizes  and 
more.  Formats:  35mm,  video,  Beta,  1/2" 
DVD.  Preview  on  VHS.  Entry  Fee:  $20  fea- 
tures; $15  shorts;  $10  student.  Contact 
Ron  Tibbett,  Fest  Dir.  ;  (662)  494-5836;  fax 
494-9900;  ron@magfilmfest.com 

www.magfilmfest.com. 

MEDIA  THAT  MATTERS  FILM  FESTIVAL.  On 

going,  NY.  Deadline:  Jan.  6.  A  celebration  of 
short  films  about  social,  political  or  environ- 
mental work,  this  yr.  long  fest  incls.  com- 
munity screenings  around  the  country, 
online  streaming,  television  broadcasts  & 
DVD  distribution  to  thousands  of  educators 
&  activists.  Seeking  films  on  Food  Politics, 
Criminal  Justice,  Elections,  LGBT  Rights, 
Human  Rights, HIV/AIDS  &  more  Cats:  any 
style  or  genre,  short,  doc,  experimental, 
animation,  music  video,  youth  media,  PSA, 
Interactive  Online  Project.  Awards:  Sixteen 
winners  get  an  int'l  distribution  deal-  DVD, 
broadcast,  web  streaming  &  hundreds  of 
community  screenings.  Plus  many  films 
get  cash  awards.  Formats:  DVD,  DigiBeta, 
Beta  SP  8  mm  preview.  Entry  Fee:  $20, 
Students  no  fee.  Contact:  Wendy  Cohen; 
(646)230-6288;  fax:  230-6328;  wendy@artsen 
gine.net;www.MediaThatMattersFest.org. 

METHOD  FEST  INDEPENDENT  FILM  FESTIVAL, 

March  31-Apnl  7,  CA.  Deadline:  Dec.  5;  Jan 
26  (final).  Named  for  the  'Stanislavski 
Method,'  fest  highlights  the  great  perform- 
ances of  independent  film.  Seeking  story 
driven  films  w/  outstanding  acting  perform- 
ances. Founded:  1999.  Cats:  Feature, 
Short,  student.  Awards:  Sculpted  stat- 
uettes in  various  cats.  Formats:  35mm, 
Beta  SR  DV,  DigiBeta,  DVD.  Preview  on 
VHS.  Entry  Fee:  Student:  $25;  Shorts:  $30, 
$40  (final);  Features:  $40  ,  $50  (final). 
Contact:  c/o  Franken  Enterprises;  (310) 
535-9230;  fax:  535-9128;  Don@method 
fest.com;  www.methodfest.com. 


MIAMI  GAY  &  LESBIAN  FILM  FESTIVAL,  April 
22-May  1,  FL.  Deadline:  Dec.  14;  Jan.  14 
(late).  Annual  fest  is  seeks  work  of  all  gen- 
res, lengths  &  formats  incl.  dramatic,  doc  & 
experimental  works,  by,  about  and/or  of 
interest  to  lesbian,  gay,  bisexual  &  trans- 
gendered  communities.  Works  must  be 
Miami  premieres;  awards  given  in  numer- 
ous cats.  Cats:  feature,  doc,  short.  Awards: 
$500-1500.  Formats:  16mm,  35mm. 
Preview  on  VHS.  Entry  Fee:  $25;  $35  (late). 
Contact:  Philip  Matthews,  Festival  Director; 
(305)  534-9924;  fax:  535-2377;  ccoombes 
©miamigaylesbianf  ilm.com;  mglff.com. 

NEWFEST:  NEW  YORK  LESBIAN,  GAY, 
BISEXUAL,    &    TRANSGENDER    GAY    FILM 

Festival,  June  1-11,  NY.  Deadline:  Dec.  23; 
Feb.  20  (final). This  fest  is  committed  to  pre- 
senting diverse  &  culturally  inclusive  pro- 
grams, &  showcases  all  genres  of  film  & 
video  in  the  interest  of  lesbians,  gay  men, 
bisexuals,  or  transgendered  persons. 
Founded:  1989.  Cats:  feature,  doc,  experi- 
mental, short  .  Awards:  Jury  awards; 
Audience  Awards.  Formats:  35mm,  Beta 
SR  DVD,  DigiBeta.  Preview  on  VHS  or  DVD. 
Entry  Fee:  $20;  $25  (final).  Contact:  Basil 
Tsiokos;  (212)  571-2170;  fax:  571-2179; 
mfo@newfest.org;  www.newfest.org. 

PORTLAND  DOC  &  EXPERIMENTAL  FILM 
FESTIVAL,  April  26-30,  OR.  Deadline:  Dec. 
16,  Jan.  20  (final).  PDX  is  a  five-day  exposi- 
tion dedicated  to  showcasing  new  innova- 
tive film  &  video.  Focusing  on  non-narrative 
works  "going  against  the  gram  of  main- 
stream entertainment','  the  PDX  Film 
Festival  is  looking  for  "artistic,  under- 
ground, quirky  &  challenging  work  that 
reflects  contemporary  culture,  documents 
historic  oddities,  &  is  otherwise  unclassifi- 
able."  Cats:  doc,  short,  experimental, 
underground.  Formats:  35mm,  16mm, 
Beta  SR  DV.  Preview  on  VHS  or  DVD.  Entry 
Fee:  $15.  Contact:  Peripheral  Produce/PDX 
Film  Fest;  pdxfilmfest@penpheralpro 
duce.com;  www.penpheralproduce.com. 

ROSEBUD  FILM  &  VIDEO  FESTIVAL,  April  8-9, 
DC.  Deadline:  Jan.  23.  Founded  in  1990, 
the  competition  is  open  exclusivly  to  DC, 
Maryland  &  Virginia  film  &  video  artists. 
Fest  seeks  to  honor  the  innovative,  experi- 
mental, unusual  &  deeply  personal  in  cre- 
ative film/video  making.  The  competition  is 


December  2005  |  The  Independent     51 


STANDBY 

PROGRAM 


Recent  Clients: 
Rene  and  I 

Gina  Angelone 
Wide  Awake 
Alan  Berliner 


Post-Production  Services 

Video  Editing 

Sound  Design 

Edit  &  Mixing 

ADR  &  Voiceover 


You  Are  Not  From  Here 

Diane  Bonder 
Chain 

Jem  Cohen 
Keeper  of  the  Kohn 

David  Gaynes 
Under  Foot  &  Overstory 

Jason  Livingston 
States  of  Unbelongins 

Lynne  Sachs 
Red  Hook  Justice 

Meema  Spadola 
Loving  &  Cheating 

Thorn  Powers 


Film  Processing 

Film  to  Tape 

Tape  Preservation 
&  Restoration 

DVD  Authoring 

Technical 
Consultation 

Fiscal  Sponsorship 


www.standby.org 


135  W  26th  St  12th  Fl 

New  York,  NY  10001 

Tel  (212)  206  7858 

info(S>standby.org 


open  to  all  works  released  in  previous  year. 
Founded:  1990.  Cats:  any  style  or  genre. 
Awards:  Winners  each  receive  a  $1,000 
cash  prize,  plus  additional  products  &  serv- 
ices. Formats:  35mm,  16mm,  Beta  SP 
Preview  on  VHS.  Entry  Fee:  $25  (Entry  fee 
incls.  a  one-yr.  membership  to  Arlington 
Community  Television,  the  sponsoring 
organization).  Contact:  Jackie  Steven, 
Festival  Director;  (703)  524-2388;  fax:  908- 
9239;  jax@arlingtonmedia.org;  www.rose 
budact.org. 

SAN  FRANCISCO  INT  L  LGBT  FILM  FESTIVAL: 

Frameline  30,  June  15-25,  CA.  Deadline: 
Dec.  23;  Jan  27  (final).  Fest  one  of  the  old- 
est &  most  respected,  is  committed  to 
screening  the  best  in  Lesbian,  Gay, 
Bisexual  &  Transgender  Film.  Many  works 
premiered  in  fest  go  on  to  be  programmed 
or  distributed  nat'lly  &  int'lly.  Rough  cuts 
accepted  for  preview  if  submitted  on  1/2'.' 
Fest  produced  by  Frameline,  nonprofit  arts 
organization  dedicated  to  gay  &  lesbian 
media  arts.  Founded:  1976.  Cats:  any  style 
or  genre,  feature,  doc,  short,  experimental. 
Awards:Cash  Prizes.  Formats:  35mm,  1/2',' 
Beta,  16mm,  BETA  cam  SP-  NTSC  only. 
VHS-  NTSC/PAL.  Entry  Fee:  $15-35. 
Contact:  Program  Coordinator;  (415)  703- 
8650;  fax:  861-1404;  info@framelme.org; 
www.frameline.org. 

SEATTLE  INT'L  FILM  FESTIVAL,  May  25-June 
18,  WA.  Deadline:  Dec.  1;  Jan.  1;  Feb.  1 
(final).  SIFF  is  the  largest  film  fest  in  the  US, 
presenting  more  than  200  features  &  80 
short  films  to  an  audience  of  over  150,000 
filmgoers  each  year.  Fest  is  one  of  five  N. 
American  film  fests  in  which  presentation 
will  qualify  a  film  w/out  distribution  for  sub- 
mission to  the  Independent  Spirit  awards. 
Founded:  1976.  Cats:  feature,  doc,  short, 
animation.  Awards:  $22,500  in  cash  prizes. 
Formats:  35mm,  16mm,  Beta,  Beta  SP 
DigiBeta.  Preview  on  VHS  or  DVD.  Entry 
Fee:  $35-$90.  Contact:  SIFF;  (206)  264- 
7919;  fax:  264-7919;  entries 

@seattlef ilm.org;  www.seattlefilm.org. 

SET  IN  PHILADELPHIA  SCREENWRITING 
COMPETITION,  March  30-Apr.  12,  PA. 
Deadline:  Dec.  5,  Jan.  12  (final).  The  com- 
petition is  open  to  all  screenwriters  who 
submit  an  original  feature  length  screenplay 
set  primarily  in  the  Greater  Philadelphia 


Metropolitan  Area.  All  genres  will  be 
accepted.  Scripts  will  be  judged  on  their 
overall  quality,  &  the  extent  to  which  they 
tell  a  genuine  "Philadelphia  story."  Cats: 
script.  Awards:  Grand  Prize-$10,000  cash 
prize;  Greater  Philadelphia  Chamber  of 
Commerce  Regional  Award-  $2,500  cash 
prize;  Parisi  Winner:  $1,000  cash  prize  & 
more.  Entry  Fee:  $45,  Dec.  5;  $65,  final. 
Contact:  c/o  the  Greater  Philadelphia  Film 
Office;  SIP@film.org;  www.film.org/film 
makers/sip. php. 

STANDING  ROCK  SHORT  FILM  FESTIVAL,  Jan 

28,  OH.  Deadline:  Dec.  14,  Dec.  31  (final). 
Fest  is  open  to  all  filmmakers  &  videogra- 
phers  worldwide  w/  original  work.  Seeking 
works  20  mm.  or  less  in  length.  Traditional 
approaches  as  well  as  experimental  or 
unconventional  entries  are  welcome.  Cats: 
short,  any  style  or  genre.  Formats:  DVD, 
16mm,  H18,  Super  8,  1/2'.'  Entry  Fee:  $10 
(Ohio  Residents);  $15  (Outside  Ohio). 
Contact:  Jeff  Ingram;  (330)  673-4970; 
info@standingrock.net;  www.standin 
grock.net. 

SYRACUSE  INT'L  FILM  &  VIDEO  FESTIVAL,  April 
6-9,  NY.  Deadline:  Dec.  10  .The  fest  show- 
cases "film  &  video  artists  of  all  ages  & 
countries.  Special  sidebar  cats:  Young 
Filmmakers  (ages  10-18)  &  Central  New 
York  Film  &  Video  Artists.  "All  entries  are 
blind-screened;  decisions  based  on  quality 
of  work.  Reviews  of  selected  films  & 
videos  will  be  published  in  a  post-fest  pub- 
lication. Founded:  2003.  Cats:  feature, 
short,  doc,  animation,  experimental,  youth 
media.  Awards:  Cash  prizes;  Sponsor 
awards.  Formats:  35mm,  16mm,  Mini-DV 
(NTSC  &  PAL),  DV-Cam  (NTSC  &  PAL),  Beta 
(NTSC  &  PAL).  Preview  on  VHS.  Entry  Fee: 
$0-$85.  Contact:  c/o  Point  of  Contact 
Productions;  (315)  443-2247;  fax:  443-5376; 
cfawcett@syrfilmfest.com;  www.syrfilm 
fest.com. 

TRENTON  FILM  FESTIVAL,  May  5-7,  NJ 
Deadline:  Feb.  1.  Located  one  hour  south  of 
NYC,  30  mm.  north  of  Philadelphia  &  8  miles 
from  Princeton,  Trenton  is  a  great  showcase 
for  independent  &  foreign  filmmakers.  The 
three-day  fest  screens  over  sixty  films  at 
four  venues  &  has  the  New  Jersey  State 
Museum  as  its  main  theatre.  Cats:  feature, 
doc,  short,  animation,  experimental.  Awards: 


52  The  Independent  |  December  2005 


Ernie  Kovacs  award  in  each  category. 
Formats:  Beta,  Mini-DV,  DVD.  preview  on 
VHS  or  DVD.  Entry  Fee:  $35/$45  (features); 
$25/$35  (shorts).  Contact:  Kevin  Williams; 
(609)  396-6966;  fax:  392-3634;  info@tren 
tonfilmfestival.org;  www.trentonfilmfesti 
val.org. 

TRIBECA  FILM  FESTIVAL,  April  25-  May  7  NY 
Deadline:  Dec.  9  (final,  shorts);  Dec.  16 
(final,  features).  Fest  was  founded  to  cele- 
brate NYC  as  a  major  filmmaking  center  & 
to  contribute  to  the  long-term  recovery  of 
lower  Manhattan.  Cats:  feature,  doc,  short, 
animation,  experimental,  student.  Formats: 
35mm,  16mm,  HD  Cam.  Preview  on  VHS, 
DVD.  Contact:  Festival;  (212)  941-2304; 
entnes@tribecafilmfestival.org; 
www.tribecafilmfestival.org. 

UNITED  STATES  SUPER  8MM  Film  &  Digital 
Video  Festival,  Feb.  17-19,  NJ.  Deadline: 
Jan.  20.  Annual  fest  encourages  any  genre, 
but  work  must  have  predominantly  origi- 
nated on  Super  8  film  or  hi-8  or  digital 
video.  Rutgers  Film  Co-op/NJMAC  has 
sponsored  seven  touring  programs,  culled 
from  fest  winners  for  the  past  several 
years,  which  have  travelled  extensively  & 
seen  new  audiences.  Cats:  any  style  or 
genre.  Awards:  $4,000  in  cash  &  prizes; 
selected  winners  go  on  Best  of  Fest  Int'l 
Tour.  Formats:  Hi8,  super  8,  16mm,  1/2" 
3/4"  DV,  8mm.  Preview  on  VHS.  Entry  Fee: 
$40  (check  or  money  order  payable  to 
Rutgers  Film  Co-op/NJMAC).  Contact:  A.G. 
Nignn;  (732)  932-8482;  fax:  932-1935; 
njmac@aol.com;  www.njfilmfest.com. 

WISCONSIN  FILM  FESTIVAL,  March  30-Aprl 
2,  Wl.  Deadline:  Dec.  2,  Dec.  16  (late). 
Presented  by  the  University  of  Wisconsin  - 
Madison  Arts  Institute.  The  fest  features 
talks,  panels,  filmmaker  discussions  & 
showcases  the  work  of  Wisconsin  film- 
makers. Cats:  feature,  doc,  short,  student. 
Formats:  16mm,  S-VHS,  3/4','  1/2','  Beta  SR 
DigiBeta,  DVD,  Mini-DV  VHS  or  DVD.  Entry 
Fee:  short:  $17,  $25(late);  feature:  $27, 
$35(late).  Contact:  University  of  Wisconsin- 
Madison  Arts  Institute;  1-877-963-FILM; 
info@wifilmfest.org;  www.wifilmfest.org. 

INTERNATIONAL 

BANGKOK  INT'L  FILM  FESTIVAL,  Feb    17  27, 


Thailand.  Deadline:  Dec.  10.  Premiere  dis- 
covery film  fest  of  Asia  accepts  int'l 
shorts,  features  &  docs.  Fest  will  host 
opening  &  closing  galas,  panel  discus- 
sions &  underground  film  program.  Cats: 
feature,  short,  doc,  animation.  Awards: 
Jury  awards.  Formats:  35mm,  16mm, 
video,  Beta,  DigiBeta.  Preview  on  VHS 
(NTSC  /  PAL).  Entry  Fee:  $40;  $65  (final). 
Contact:  Jennifer  Stark;  (323)  655-8550; 
fax:  866-3360;  info@bangkokfilm.org; 
www.bangkokfilm.org. 

GOEAST  FESTIVAL  OF  CENTRAL  &  EASTERN 
EUROPEAN  FILM,  April  6-12,  Germany. 
Deadline:  Dec.  31.  This  Festival  aims  at 
increasing  the  German  audience's  aware- 
ness for  film-cultural  developments  in 
Central  &  Eastern  Europe.  Cats:  feature, 
doc.  Awards:  Cash  awards.  Formats: 
35mm,  16mm,  DV,  Beta  SR  Preview  on 
VHS.  Entry  Fee:  None.  Contact:  DIF;  (011) 
49  69  9612  2027;  fax:  6637  2947; 
info@filmfestival-goEast.de;  www.filmfes 
tival-goEast.de. 

HONG  KONG  INT'L  FILM  FESTIVAL,  April  4  19, 
China.  Deadline:  Dec.  16;  Jan.  13  (final). 
Fest  regularly  incls.  a  selection  of  Int'l, 
Asian,  &  Hong  Kong  Cinema 
Retrospectives  among  300  films  &  videos 
screened  at  various  venues.  The  program 
incls.  the  following  sections:  Asian  DV 
Competition;  Humanitarian  Awards  for 
Docs;  Global  Vision;  Indie  Power;  &  Reality 
Bites.  The  fest  has  been  recognized  as  a 
valuable  showcase  for  Asian  works  that 
allows  the  West  to  discover  the  riches  of 
Chinese  cinema.  Cats:  feature,  doc, 
short,  animation.  Formats:  35mm,  16mm, 
Beta  SP  Entry  Fee:  $20-$50.  Contact: 
HKIFF;  011  852  2970  3300;  fax:  2970  3011 ; 
info@hkiff.org. hk;  www.hkiff.org.hk. 

HOT  DOCS  CANADIAN  INT'L  DOC  FILM 
FESTIVAL,  April  28-  May  7  Ontario. 
Deadline:  Dec.  12  Jan.  13  (final).  Hot  Docs 
is  North  America's  largest  documentary 
fest.  Each  year,  the  fest  presents  "a  selec- 
tion of  over  100  cutting-edge  documen- 
taries" from  Canada  &  around  the  globe. 
Through  its  industry  programmes,  the  fest 
also  provides  a  full  range  of  professional 
development,  market,  &  networking 
opportunities  for  documentary  profession- 
als. Cats:   Doc.  Awards:  Various  awards 


given.  Formats:  35mm,  16mm,  Beta  SP 
(NTSC  or  PAL),  DigiBeta  (NTSC  or  PAL), 
High  Definition.  Preview  on  VHS.  Entry 
Fee:  Int'l  entry  fee:  U.S.  $35;  Final/Jan. 
fee:  U.S.  $100  .  Contact:  Hot  Docs; 
(416)203-2155;  fax:  203-0446;  mfo@hot 
docs.ca;  www.hotdocs.ca. 

INSIDE  OUT:  TORONTO  LESBIAN  &  GAY  FILM 
&  VIDEO  FESTIVAL,  May  18-28,  Canada. 
Deadline:  Jan.  16.  Fest  hosts  the  largest 
lesbian  &  gay  fest  in  Canada  &  one  of  the 
largest  in  the  world.  Previous  years  fests 
screened  300  plus  films  &  videos  in  84 
programs  w/  sold  out  screenings.  Fest  has 
assisted  in  securing  theatrical  &  broadcast 
distribution  for  several  films  &  videos 
through  relationships  w/  Canadian  film  & 
TV  entities.  Fest  is  not  only  a  highly  antic- 
ipated cultural  event  renowned  for  its  hos- 
pitality &  integrity  in  programming,  but  an 
excellent  opportunity  to  network  w/  other 
independent  film  &  video  makers  &  inter- 
ested industry  representatives.  Founded: 
1991.  Cats:  feature,  doc,  short,  animation, 
experimental,  music  video,  student,  youth 
media,  family,  children,  TV.  Awards: 
Awards  are  given  for  both  local  &  int'l 
work.  The  Bulloch  Award  for  Best 
Canadien  Work,  the  Akau  Award  for  Best 
Lesbian  Short,  the  Cruiseline  Award  for 
Best  gay  Male  Short,  &  the  Charles  St. 
Video  Award  for  Best  Emerging  Toronto 
Artist.  Audience  Awards  incl.  the 
Showcase  Award  for  Best  Feature,  the 
Ellen  Flanders  Award  for  Best  Doc  &  the 
Mikey  Award  for  Best  Short.  In  all,  more 
than  $5,000  in  cash  &  prizes  is  awarded 
annually.  Formats:  16mm,  Beta,  35mm. 
Preview  on  VHS.  Entry  Fee:  None. 
Contact:  Kathleen  Mullen;  (416)  977-6847; 
fax:  977-8025;  inside@insideout.on.ca; 
www.msideout.on.ca. 

INT'L  FEATURE  FILM  COMPETITION  FOR 
WOMEN  FILM  DIRECTOS,  TBA,  Germany 
Deadline:  TBA.  Festival  organizes  every  2 
years  as  an  int'l  film  fest  centered  on  one 
topical  theme  which  also  incls.  historical 
aspects.  They  highlights  those  films  that 
came  into  being  largely  as  a  result  of 
women's  efforts  director,  screenwriter, 
sound  technician,  camera  operator  or  edi- 
tor. The  fest  is  a  non-competitive  frame- 
work. Founded:  1987  Cats:  Any  style  or 
genre,  feature,  doc,  short.  Awards:  Grand 


ber  2005  |  The  Independent    53 


"Today,  SXSW  is  a  destination  test  and  a  mainstay  of  the  independent  film  calendar. " 
-  Variety 


X- 


1 


MARCH  10-18  2006 1  AUSTIN  T 

Go  to  sxsw.com  for  registration  discounts 
and  conference  updates. 

Film  submission  final  deadline  is  December  5. 


Student  registration  discounts  available. 


m 


THE  SOUTH  BY  SOUTHWEST 
FILM  CONFERENCE  &  FESTIVAL 

has  succeeded  in  its  attempt  to 
blend  enthusiastic  crowds  with 
the  leaders  of  the  film  industry. 
New  filmmakers  and  veteran 
audiences  come  together  with 
veteran  filmmakers  and  new 
audiences,  for  a  one-of-a-kind 
festival.  Between  educational 
panels  and  premiere  screenings, 
SXSW  Film  has  maintained  its 
vision  of  celebrating  ingenuity. 
For  once,  here's  film  indepen- 
dence you  can  depend  on.  You 
can  submit  your  film  online  at: 
www.sxsw.com/film 


prize  25,000  Euro.  Formats:  All  formats 
accepted,  35mm,  16mm,  S-VHS,  Beta, 
Beta  SR  DigiBeta,  U-matic.  Preview  on 
VHS.  Entry  Fee:  25  Euro.  Contact:  femme 
totale  e.V,  c/o  Kulturburo  Stadt  Dortmund, 
;  011  49  231  50  25  162;  fax:  011  49  231  50 
25  734;  info@femmetotale.de;  www.fem 
metotale.de. 

INT'L  FILM  FESTIVAL  OF  URUGUAY,  April  1  -16, 
Uruguay.  Deadline:  Jan.  20.  Annual  fest 
devoted  to  short  &  feature  length,  doc,  fic- 
tion, experimental,  Latin  American  &  int'l 
films,  w/  purpose  of  promoting  film  quali- 
ty &  human  &  conceptual  values.  Ind.  fest 
aims  at  being  frame  for  meetings  &  dis- 
cussions of  regional  projects  &  of  mutual 
interest.  Fest  has  4  sections:  Int'l  Full 
Length  Film  Show;  Int'l  Doc  & 
Experimental  Film  Show;  Info  Show; 
Espacio  Uruguay.  Films  should  be  subti- 
tled, have  Spanish  version,  or  have  a  list  of 
texts  or  dialogues  translated  into  Spanish 
or  in  English,  French  or  Portuguese  for  fest 
to  translate.  Films  wishing  to  compete 
must  be  completed  after  Jan.  1  of  the  past 
two  years.  Founded:  1982.  Cats:  feature, 
doc,  short,  experimental,  animation,  stu- 
dent. Awards:  Best  Film;  Jury  Prize;  Opera 
Prima  Prize.  Formats:  35mm,  16mm,  Beta 
SR  DVD,  DV.  Preview  on  VHS.  Entry  Fee 
None.  Contact:  Manuel  Martinez  Carril 
011  5982  418  9819;  fax:  5982  419  4572 
cinemuy@chasque.net;  www.cinemate 
ca.org.uy. 

NY0N  INT'L  DOC  FESTIVAL,  April  18-24, 
Switzerland.  Deadline:  Jan.  15.  a.k.a 
Visions  du  Reel,  seeking  nonfiction  works 
of  all  lengths  that  "through  their  form  & 
aesthetic  qualities  provide  personal  & 
unusual  descriptions  &  interpretations  of 
past  &  present  realities  of  the  world." 
Awards:  2000-15,000  Euros.  Formats: 
16mm,  35mm,  Beta  SP  VHS  or  DVD. 
Contact:  Festival;  (41)  22  365  4455;  fax: 
(41)  22  365  4450  ;  docnyon@visions 
dureel.ch;  www.visionsdureel.ch. 

OBERHAUSEN  INT'L  SHORT  FILM  FESTIVAL, 

TBA,  Germany.  Deadline:  TBA.  The  world's 
oldest  short  film  fest  offers  a  forum  for 
aesthetic   &   technological    innovation   & 


reflection.  There  are  no  limits  as  to  form  or 
genre  but  films  in  the  Int'l  &  Children's  & 
Youth  Competitions  must  not  exceed  35 
min.  &  have  been  made  after  Jan.  1  of  the 
previous  year.  All  submitted  works  are 
viewed  by  an  independent  selection  com- 
mittee appointed  by  the  fest  &  will  be  in 
the  market  catalogue  unless  stated  other- 
wise. Approx.  70  titles  will  be  selected  by 
the  Int'l  Competition  &  40  in  the  Children 
&  Youth  Competition.  Founded:  1954. 
Cats:  Short,  Any  style  or  genre,  Children, 
Music  Video.  Awards:  incl.  Grand  Prize, 
Jury  of  Int'l  Film  Critics  award.  Works  will 
compete  for  prizes  worth  a  total  of  37,500 
EURO  (approx.  $46,000).  Formats:  35mm, 
16mm,  Beta  SP/PAL,  DV,  S-VHS,  Super  8, 
DVD.  Preview  on  VHS  or  S-VHS.  Entry  Fee: 
None.  Contact:  Melanie  Piguel, 
Coordinator;  011  49  208  825  2652;  fax:  49 
208  825  5413;  info@kurzfilmtage.de; 
www.kurzfilmtage.de. 

OPORTO  INT'L  FILM  FESTIVAL/FANTASP0RT0, 

Feb.24-Mar.4,  Portugal.  Deadline:  Dec.  15. 
Noncompetitive  fest  debuted  in  1981, 
founded  by  editors  of  film  magazine 
Cinema  Novo  &  has  evolved  into  a  com- 
petitive fest  for  features  that  focus  on 
mystery,  fantasy  &  sci-fi.  Official  Section, 
competition  for  fantasy  films;  Directors' 
Week,  competition  for  1st  &  2nd  films  (no 
thematic  strings);  Out  of  Competition  for 
Films  of  the  World,  info  section  &  retro 
section.  Festival  runs  in  4  theaters  w/ 
2,000  seats  altogether  &  screens  nearly 
250  features  &  shorts.  Press  coverage 
extensive  from  major  newspapers,  radio 
stations  &TV  networks.  Entries  must  have 
been  completed  in  previous  2  years.  Cats: 
animation,  short,  feature.  Awards:  incl. 
Best  Film,  Best  Direction,  Best 
Actor/Actress,  Best  Screenplay,  Best 
Special  Effects,  Best  Short  Film,  Special 
Award  of  the  Jury.  Formats:  35mm. 
Preview  on  VHS  (NTSC  or  PAL).  Entry  Fee: 
No  entry  fee.  Contact:  Mario  Dorminsky, 
Director;  011  351  222  076  050;  fax:  351 
222  076  059;  info@fantasporto.online.pt; 
www.fantasporto.online.pt. 

ROME  INDEPENDENT  FILM  FESTIVAL,  March 
24-31,    Italy.    Deadline:    Dec.    15.   This 


Festival  is  a  non-profit  cultural  organization 
whose  mission  is  to  promote  &  increase 
the  visibility  of  Italian  &  int'l  cinema,  which 
is  often  out  of  public  reach.  Cats:  script, 
short,  feature,  doc,  student.  Awards: 
Airline  tickets,  cash,  film,  film  develop- 
ment &  post  production  assistance. 
Formats:  35mm,  16mm,  DVD,  VHS. 
Preview  on  VHS  or  DV.  Entry  Fee:  $12  (stu- 
dent), $42  (screenplay,  shorts,  &  docs), 
$60  (Features).  Contact:  Fabnzio  Ferrari; 
(011)39  06  4542  5050;  fax:  2331  9206; 
info@riff.it;  www.nff.it. 

SINGAPORE  INT'L  FILM  FESTIVAL,  April  13 
29,  Singapore.  Deadline:  Jan.  15. 
Invitational  fest  offers  non-competitive  & 
competitive  section  for  Asian  cinema,  w/ 
award  for  best  Asian  feature.  Open  to  fea- 
tures completed  after  Jan.  1  of  preceding 
yr.  Entries  must  be  Singapore  premieres. 
About  120  features  shown  each  yr,  along 
w/  60  shorts  &  videos  from  60  countries. 
Main  section  shows  35mm;  all  other  for- 
mats accepted  in  fringe  programs.  Several 
US  indie  films  have  been  featured  in  past 
editions.  Cats:  Short,  Feature,  Doc, 
Animation.  Formats:  35mm,  16mm,  Beta 
SP  (PAL),  DigiBeta.  VHS  or  DVD.  Entry 
Fee:  None.  Contact:  Philip  Cheah,  Festival 
Director;  011  65  738  7567;  fax:  011  65  738 
7578;  filmfest@pacific.net.sg;  www.film 
fest. org. sg. 

TURIN  INT'L  GAY  &  LESBIAN  FILM  FESTIVAL, 

April  20-27,  Italy.  Deadline:  Jan.  31.  Italy's 
oldest  gay  &  lesbian  fest.  Entries  should 
be  by  lesbian/gay/bisexual/transgender 
filmmakers  or  address  related  themes  & 
issues.  Competition  section  divided 
between  3  juries:  doc,  long  feature  & 
short  feature.  Founded:  1986.  Cats:  doc, 
feature,  short.  Awards:  Ottavio  Mai  Award 
presented  to  Best  Feature  in  competition 
worth  $1500..  Formats:  1/2"  35mm, 
16mm,  Beta  SR  DVD,  DV.  Preview  on  VHS. 
Entry  Fee:  None.  Contact:  Giovanni 
Minerba,  Director;  Cosimo  Santoro,  Head 
Programmer;  390  11  534  888;  fax:  535 
796;  info@tglff.com;  www.tglff.com. 


December  2005  |  The  Independent    55 


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DISTRIBUTION 

FANLIGHT  PRODUCTIONS  25  years  as  an 
industry  leader!  Join  more  than  100 
award-winning  film  &  video  producers. 
Send  us  your  new  works  on  healthcare, 
mental    health,    aging,    disabilities,    and 


related  issues.  (800)  937-4113;  www. fan 
light.com. 

NEW  DAY  FILMS  seeks  energetic  independ- 
ent film  and  video  makers  with  social 
issue  docs  for  distribution  to  non-theatrical 
markets.  If  you  want  to  maximize  your 
audience  while  working  within  a  remark- 
able community  of  activist  filmmakers, 
New  Day  is  the  perfect  home  for  your  film. 
New  Day  is  committed  to  promoting  diver- 
sity within  our  membership  and  the  media 
we  represent.  Explore  our  catalog  at 
www.newday.com,  then  contact  Alice 
Elliott  at  join@newday.com  or  212-924- 
7151. 

THE  CINEMA  GUILD,  leading  film/video/mul- 
timedia distributor,  seeks  new  doc,  fiction, 
educational  &  animation  programs  for  dis- 
tribution. Send  videocassettes  or  discs  for 
evaluation  to:  The  Cinema  Guild,  130 
Madison  Ave.,  2nd  fl.,  New  York,  NY 
10016;  (212)  685-6242;  info@CIN 
EMAGUILD.COM;  Ask  for  our  Distribution 
Services  brochure. 

THE  ARAB  RADIO  AND  TELEVISION 
NETWORK,  or  ART,  is  planning  to  introduce 
a  non-Arab  language  satellite  channel  in 
the  Middle  East. This  Film  Channel  is  seek- 
ing independent  feature  films,  short  films 
and  documentaries  for  future  program- 
ming.   We  want  to  introduce  the  Middle 


East  to  films  that  are  not  commercial.  Go 
global  with  us.  For  submission  information 
please  contact  Mustafa  Tell,  Broadcast 
Director,  ART  at  broadcast@art-tv.jo  with 
a  short  synopsis  of  your  film. 

FREELANCE 

35MM  &  16MM  PROD.  PKG.  W/  DP.  COMPLETE 
PACKAGE  w/  DP's  own  Arn  35BL,  16SR, 
HMIs,  lighting,  dolly,  Tulip  crane,  camjib, 
DAT,  grip  &  5-ton  truck,  more.  Call  for  reel: 
Tom  Agnello  (201)  741-4367;  road 
toindy@aol.com. 

ARE  YOU  STUCK?  Fernanda  Rossi,  script  & 
documentary  doctor,  specializes  in  narra- 
tive structure  in  all  stages  of  the  filmmak- 
ing process,  including  story  development, 
fundraising  trailers  and  post-production. 
She  has  doctored  over  30  films  and  is  the 
author  of  "Trailer  Mechanics."  For  private 
consultations  and  workshops  visit 
www.documentarydoctor.com  or  write  to 
info@documentarydoctor.com. 

BRENDAN  C.  FLYNT  Director  of  Photography 
for  feature  films  and  shorts.  Credits: 
"Remedy"  starring  Frank  Vincent  and  "El 
Rey  "(Goya  Award).  Have  35mm,s16,HD 
equipment  and  contacts  w/festivals,  dis- 
tributors, and  name  actors.  Call 
anytime  (212)  208-0968  or  bcfly 
nt@yahoo.com;  www.dpflynt.com 


56  The  Independent  |  December  2005 


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.  -*  Dot  HrajV' ^1 

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COMPOSER  MIRIAM  CUTLER  loves  to  collab- 
orate: docs,  features.  Lost  In  La 
Mancha/IFC,  Scout's  Honor,  Licensed  To 
Kill,  Pandemic:  Facing  Aids/HBO,  Indian 
Point/HBO,  Positively  Naked/HBO,  Stolen 
Childhoods,  Amy's  0  &  more.  (310)  398- 
5985  mir.cut@verizon.net.  www.miriam 
cutler.com. 

COMPOSER:  Original  music  for  your  film  or 
video  project.  Will  work  with  any  budget. 
Complete  digital  studio.  NYC  area.  Demo 
CD  upon  request.  Call  Ian  O'Brien:  (201) 
222-2638;  iobrien@bellatlantic.net. 

D.P  WITH  ARRI  SR  SUPER  16/16MM    and 

35BL-2  camera  packages.  Expert  lighting 
and  camerawork  for  independent  films, 
music  videos,  etc.  Superb  results  on  a 
short  schedule  and  low  budget.  Great 
prices.  Willing  to  travel.  Matthew  617-244- 
6730. 

FREELANCE  CAMERA  GROUP  IN  NYC  seeking 
professional  cameramen  and  soundmen 
w/  solid  Betacam  experience  to  work  w/ 
wide  array  of  clients.  If  qualified,  contact 
COA  at  (212)  505-1911.  Must  have  docu- 
mentary/ news  samples  or  reel. 

LOCATION  SOUND:  Over  25  yrs  sound  exp. 
w/  timecode  Nagra  &  DAT,  quality  mics  & 
mixers.  Reduced  rates  for  low-budget 
projects.  Harvey  &  Fred  Edwards,  (518) 
677-5720;  (819)  459-2680;  edfilms@world 
net.att.net;  www.edwardsfilms.com. 

STORYBOARDS  make  complicated  scenes 
clear.  Kathryn  Roake  has  drawn  over  15 
films  and  is  the  winner  of  a  New  Line 
Cinema  grant,  another,  the  winner  of  an 
HBO  grant.  I  work  on  union  and  non  union 
films.  Kathryn  718-788-2755. 

OPPORTUNITIES  |  GIGS 

50  WAYS  TO  IMPROVE  YOUR  VIDEO  BUSINESS. 
FREE  REPORT.  Grow  a  successful  video  busi- 
ness in  Legal,  Wedding,  Corporate,  TV  and 
more,  http://videouniversity.com/50web.htm 

CAREER  AND  SCRIPT  CONSULTANT  Emmy 
nominated  Ellen  Sandler  (Co-Executive 
Producer   "Everybody   Loves    Raymond") 


can  help  anyone  avoid  costly,  time  con- 
suming pitfalls  and  deadends  in  the 
Hollywood  game.  She  works  one  on  one 
with  you  on  pitching  skills,  script  re-writes, 
career  strategies,  including  networking 
and  relocating  to  Los  Angeles.  Her 
approach  follows  specific  guidelines  and 
proven  techniques,  but  is  always  cus- 
tomized to  the  specific  needs,  strengths 
and  budget  of  each  client.  Email: 
elsand@comcast.net  for  more  information 
and  to  request  a  sample  consultation  at  no 
charge. 

ECHOTROPE,  OMAHA  NE,  works  collabora- 
tively with  other  art  venues  such  as  the 
Bemis  Center  for  Contemporary  Arts  and 
UNO  Art  Gallery  to  organize 
exhibitions/screenings.  Seeking  submis- 
sions for  the  2006  -  2007  Deadline  2/1/05 
for  GE06/  CE07.  Accept  MiniDV,  DVD. 
Please  include  current  CV,  support  materi- 
als, contact  info,  SASE  FOR  RETURN: 
Echotrope  RO.  Box  31394  Omaha  NE, 
68181-0394.  www.echotrope.org. 

FILMMAKING  INSTRUCTOR  NEEDED  Concord 
Academy  is  a  coeducational  independent 
boarding  and  day  school  of  340  students 
grades  9-12.  It  offers  a  rigorous  liberal  arts 
curriculum  in  which  the  arts  play  an  impor- 
tant role.  Members  of  the  Visual  Arts 
department  are  working  artists  who  main- 
tain their  own  studios  and  exhibit  their 
work.  The  Visual  Arts  Department  is  look- 
ing for  a  60-80%  time  filmmaking  instruc- 
tor. Candidates  are  expected  to  teach 
three  levels  of  filmmaking  which  includes 
film  (Super  8  and  16mm),  video  and 
digital  video  production  and  post-produc- 
tion. Other  courses  could  include 
Screenwriting,  Film  History  and  New 
Media  Production.  Experience  with  Final 
Cut  Pro,  Avid  DV  express  pro  and  other 
graphic  software  helpful.  Production  expe- 
rience and  knowledge  of  film  history  and 
criticism  essential.  Teaching  experience 
and  MFA  preferred.  Instructor  supervises 
a  well-equipped  facility  with  the  help  of  a 
tech  assistant.  Duties  beyond  the  class- 
room include  advising  students  and  serv- 
ing on  committees.  To  apply  send  resume, 
teaching  philosophy  and  three  references 
to:    Cynthia     Katz,    Chair,    Visual    Arts 


Department  Concord  Academy,  166  Main 
Street  Concord,  MA  01742  Review  of 
applications  to  begin  November  1.  Position 
open  until  filled.  Finalists  will  be  asked  to 
submit  a  sample  reel.  No  telephone 
calls  please.  For  questions,  email  cyn- 
thia_katz@concordacademy.org.  Concord 
Academy  actively  seeks  applicants  who 
reflect  and  support  our  mission-driven 
commitment  to  creating  and  maintaining  a 
diverse  and  inclusive  school  community. 

PREPRODUCTION  | 
DEVELOPMENT 

GET  YOUR  SCREENPLAY  READY  FOR  PRODUC- 
TION! Former  Miramax  story  analyst, 
School  of  Visual  Arts  professor  and  author 
of  Aristotle's  Poetics  for  Screenwriters 
(Hyperion,  August  2002),  will  analyze  your 
screenplay  and  write  you  contructive  in- 
depth  studio  style  notes.  I  will  go  right  to 
the  heart  of  what  works  in  your  script  and 
what  needs  improvement  as  well  as  offer- 
ing suggestions  about  HOW  to  fix  it.  Trust 
me,  I'm  not  looking  for  "formulas."  Every 
screenplay  is  different.  Since  I'm  an  inde- 
pendent filmmaker,  I  specialize  in  helping 
filmmakers  get  their  scripts  ready  for 
shooting.  Face  it.  You're  going  to  spend  a 
lot  of  money  to  make  your  film.  Spend  a 
little  up  front  to  make  sure  your  script 
works.  It's  the  ONLY  way  to  pull  off  a  low 
budget  film  effectively!  It  will  cost  you 
1000  times  more  to  fix  script  problems 
AFTER  the  production  begins.  Reasonable 
rates,  references.  Michael  Tierno,  mtier 
no@nyc.rr.com. 

POSTPRODUCTION 

AUDIO  POST-PRODUCTION  Audio  comple- 
tion on  your  Doc  or  Film.  Well  Credited 
and  experienced.  Visit  website  for  Credit 
List.  Terra  Vista  Media,  Inc.  Tel  562-437- 
0393. 

BRODSKY  &  TREADWAY  film-to-tape  trans- 
fers, wet-gate,  scene-by-scene,  reversal 
film  only.  Camera  original  Regular  8mm, 
Super  8,  and  16mm.  For  appointment  call 
(978)  948-7985. 


December  2005  |  The  Independent    57 


atten 


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iual  Beloit 

International  Film  Festival.  Scores  of  short, 

documentary,  animated  and  feature  films  will  be 

presented  in  a  multitude  of  venues  throughout 

the  stateline  area. 

For  ticket  sales  and  information,  go  to 
beloitfilmfest.com 

The  Hendricks  Group  Presents 


W 


MTGRIWIOMM. 
FILM 

FESTIVAL 

January  19-22,2006 
in  beautiful  Beloit,  Wisconsin 


Presented  in  association 


rjlh  Beloit  College 


trotclwisconsin.com 


c 


Free  Project  Evaluation 


244  nnn  Avenue  Sllte  U  2518.  NY.  N  y  ioooi 


WEB 

WEB  SITE  DESIGNER:  Create  multimedia 
web  sites,  integrating  video,  sound,  and 
special  effects,  that  promote  your  films 
and/or  your  company,  www.____________- 
design.com.  Info:  ______  ______,  phone: 
___-___-____,  email:  ______@______.net. 

INDIEVILLE:  With  more  than  26,000  unique 
visitors  per  month  and  5,200  email 
newsletter  subscribers  join  the  indie 
crusade  at  http://indieville.net. 


58  The  Independent  ]  December  2005 


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COMPETITIONS 

SHORT  FILM  SLAM,  NYC's  only  weekly  short 
film  competition,  is  looking  for  submis- 
sions. Competition  on  Sundays  at  2  p.m.  At 
the  end  of  each  show  the  audience  votes 
for  a  winning  film,  which  receives  further 
screenings  at  the  Pioneer  Theater.  To  enter, 
you  must  have  a  film,  30  min.  or  less,  in  a 
35mm,  16mm,  BetaSR  VHS,  or  DVD  for- 
mat. To  submit  your  film,  stop  by  the 
PioneerTheater  (155  E.  3rd  St.)  during  oper- 
ating hours,  call  (212)  254-7107  or  visit 
www.twoboots.com/pioneer  for  more 
information. 

APPLAUSE  SCREENWRITING  COMPETITION 

calling  for  original  works  of  an  author  or 
authors  and  not  previously  optioned,  pur- 
chased, or  produced.  Adaptations  (no  docu- 
mentaries) are  welcome  provided  the 
author  assumes  sole  legal  responsibility  for 
obtaining  copyrights  to  the  adapted  work. 
Prizes:  Script  submission  to  agents,  man- 
agers, producers,  lunch  with  Hollywood 
execs,  exposure  and  promotion  packages, 
coverage,  script  critiques,  software,  maga- 
zines, and  other  great  product  prizes. 
www.applause4you.com 

DRAMA  GARAGE  seeks  completed  and  orig- 


inal feature-length  screenplays  that  do  not 
exceed  120  pages  and  have  limited  camera 
angles.  If  chosen,  you'll  receive  a  fully  pro- 
duced, staged  reading  of  your  screenplay  in 
Hollywood,  referrals,  contacts,  and  much 
more.  Please  visit  www.dramagarage.com 
or  call  323-993-5700  for  more  information. 

CONFERENCES  /WORKSHOPS 

VOLUNTEER  LAWYERS  FOR  THE  ARTS:  offer 
seminars  on  "Copyright  Basics,"  "Nonprofit 
Incorporation  &  Tax  Exemption"  &  more. 
Reservations  must  be  made.  Contact:  (212) 
319-2910  x.  9. 

PUBLICATIONS 

DATABASE  &  DIRECTORY  OF  LATIN  AMERICAN 
FILM  &  VIDEO,  organized  by  Int'l  Media 
Resources  Exchange,  seeks  works  by  Latin 
American  &  US  Latino  md.  producers.  To 
send  work  or  for  info,  contact  Roselly 
Torres,  LAVA,  124  Washington  PL,  NY  NY 
10014;  (212)  463-0108;  imre@igc.org. 

FELIX  is  a  journal  of  media  arts  &  communi- 
cation. The  next  issue  will  be  edited  by 
Kathy  High  w/  guest  editors  Ximena 
Cuevas,  Roberto  Lopez  &  Jesse  Lerner. 
Entitled  RISK/RIESGO,  it  will  be  the  maga- 


zine's first  bilingual  issue  (in  Spanish  & 
English)  &  will  ask:  What  makes 
work/life/art  risky  business?  What  is  the 
gamble?  Where  is  the  dare,  the  hazard,  the 
danger?  Felix  is  published  by  the  Standby 
Program,  Inc.  Order  by  phone:  (212)  219- 
0951;  www.e-felix.org. 

DEEP  FOCUS:  A  REPORT  ON  THE  FUTURE  OF 
INDEPENDENT  MEDIA  What  are  the  con- 
tours of  this  decade's  emerging  media  land- 
scape? How  can  makers,  funders  and 
organizations  adapt  to  opportunities  and 
challenges  distinctive  to  this  new  environ- 
ment? In  this  far-reaching  new  report  six 
leading  independent  media  organizations 
partner  with  Global  Business  Network  to 
take  a  bold,  provocative  look  at  the  future. 
Free  to  members  and  available  for  purchase 
at  www.namac.org. 

RESOURCES  / FUNDS 

THE  FUND  FOR  WOMEN  ARTISTS  IS  A  non- 
profit organization  dedicated  to  helping 
women  get  the  resources  they  need  to  do 
their  creative  work.  We  focus  on  women 
using  their  art  to  address  social  issues, 
especially  women  in  theatre,  film,  and 
video,  and  we  have  two  primary  goals:  To 
Challenge  Stereotypes  and  we  support  the 


December  2005  |  The  Independent     59 


creation  of  art  that  reflects  the  full  diversity 
and  complexity  of  women's  lives.  To 
Increase  Opportunities  -We  advocate  for 
women  artists  to  be  paid  fairly  and  to  have 
more  opportunities  to  make  a  living  from 
their  creative  work.  To  learn  more  about  our 
work,  and  to  sign  up  to  receive  these  fund- 
ing newsletters,  visit  our  web  page  at: 
www.WomenArts.org  . 

THE  LEEWAY  FOUNDATION,  which  supports 
individual  women  artists,  arts  programs, 
and  arts  organizations  in  the  Greater 
Philadelphia  region,  has  announced  the  Art 
and  Change  Grants  provide  immediate, 
short-term  grants  of  up  to  $2,500  to 
women  artists  in  the  Philadelphia  region 
who  need  financial  assistance  to  take 
advantage  of  opportunities  for  art  and 
change.  The  artist's  opportunity  for  change 
must  be  supported  by  or  be  in  collaboration 
with  a  Change  Partner  —  a  person,  organi- 
zation, or  business  that  is  providing  the 
opportunity  or  is  a  part  of  the  opportunity  in 
some  way.  Eligible  Change  Partners  include 
mentors,  editors,  galleries,  community  art 
spaces,  theaters,  nonprofit  organizations, 
film  studios,  and  clubs.  (Art  and  Change 
Grant  Deadlines:  April  11,  June  20,  and 
October  31,  2005.)  Visit  the  Leeway 
Foundation  Web  site  for  grantmaking  guide 
lines  and  application  forms. 

THE  PACIFIC  PIONEER  FUND  supports  emerg 

ing  documentary  filmmakers-Limited  to 
organizations  anywhere  in  the  US,  certified 
by  the  IRS  as  "public  charities",  which 
undertake  to  supervise  any  project  for 
which  individuals  receive  funds,  and  to  con- 
trol the  selection  of  individual  recipients  of 
funds.  The  fund  does  not  provide  support 
for  endowments,  building  campaigns, 
accumulated  deficits,  or  ordinary  operating 
budgets,  or  make  grants  to  individuals.  The 
fund  does  not  support  instructional  or  per- 
formance documentaries  or  student 
film  projects.  Grants  are  limited  to 
filmmakers  or  videographers  who  live  and 
work  in  California,  Oregon  and  Washington. 
Approximately  $1,100,  000.  Applications  are 
accepted  on  an  ongoing  basis.  Application 
deadlines  in  2005-06  are  1/2/06  and  5/1/06. 
Print  out  an  application  from  www.pacificp 


ioneerfund.com  and  send  it  ,  along  with  a 
VHS  tape  of  up  to  10  minutes  of  edited 
footage  from  the  project  for  which  support  is 
sought,  to  PO.  Box  20504,  Stanford,  CA 
94309.  If  you  have  questions,  email  Armin 
Rosencranz:  armm@stanford.edu.  For 
urgent  questions,  phone:  650-996-3122. 

MICROCINEMAS  /  SCREENINGS 

FILM  AND  VIDEO  825  -  Series  of  bi-monthly 
screenings  of  locally,  nationally  and  interna- 
tionally recognized  film  and  video  artists' 
work,  providing  a  forum  for  presenting 
experimental  film  and  video  in  Los  Angeles. 
In  a  city  dominated  by  Hollywood,  venues 
such  as  ours  become  a  necessity  for  artists 
working  in  time-based  media  that  is  outside 
the  mainstream  of  narrative  cinema.  Our 
curatorial  vision  is  open  to  both  shorts  and 
features  in  experimental,  performance,  ani- 
mation, and  documentary  forms.  Film/ 
Video  825,  Gallery  825/LAAA,  825  N.  La 
Cienega  Blvd.,  Los  Angeles,  CA  90069,  T 
(310)  652-  8272,  F:  (310)  652-9251, 
gallery825@laaa.org,  www.laaa.org/calen 
dar/f  ilm_video.html. 

BROADCAST  /  CABLECAST 

AXLEGREASE  PUBLIC  ACCESS  CABLE  SHOW 
Tuesdays  at  2:00  PM  on  Channel  20 
Become  part  of  current  media  making  his- 
tory and  submit  your  media  work  to  be 
shown  on  TV,  on  our  legendary  public  access 
cable  show.  Commercial  free,  100%  media 
art  TV.  Provide  us  with  mini-dv,  vhs,  svhs,  or 
8mm  video  (ntsc)  tapes  with  a  running  time 
of  28  mm.  or  less.  Your  work  may  also  be  dis- 
played in  our  storefront  window.  Your  entry 
will  become  a  part  of  our  Member  Viewing 
Library  unless  you  include  an  SASE. 
Axlegrease  is  open  to  local  and  international 
artists.  Send  tapes  Attention:  Axlegrease. 
Formats  accepted:  mini-dv,  s-vhs,  vhs 
or  dvd.  Visit  www.squeaky.org/opportuni 
ties.html#ongoing  for  more  information. 

OPEN  SCREENINGS  Second  Wednesday  of 
Every  Month  8pm!  Free!  Squeaky  Wheel's 
long-running  free  open  screening  is  one  of 
our  most  popular  programs.  Filmmakers, 
video/sound/digital  artists,  community  doc- 


umentanans,  and  students  of  all  ages  are 
welcome  to  bring  short  works  for  insightful 
critique.  The  open  screening  is  perfect  for 
newly  created  works  or  works  in  progress. 
Bring  works  less  than  15  minutes.  Call 
ahead  to  screen  a  longer  work.  We  created 
some  new  mini-themes  (you  don't  have  to 
make  work  on  the  theme,  but  if  it  inspires 
you,  go  ahead)  to  get  more  people  in  the 
door!  Formats  accepted:  Super  8,  16mm, 
video  (mini-dv,  svhs,  vhs),  cassettes,  cds, 
Mac  compatible  cd-rom. 

WIRESTREAM  is  seeking  independent  films 
and  television  series  for  broadcast.  Genre 
welcome  include  Drama,  Comedy,  SciFi, 
Fantasy,  Nonaction/  Reality  and  Educational 
films  and  series,  suitable  for  general/mature 
audiences.  All  entries  must  be  available  for 
all  rights  worldwide.  Entries  previously  pre- 
sented are  eligible  subject  to  confirmation 
of  rights.  Submit  entries  to  Waye  Hicks, 
Executive  Producer,  via  email  to 
wayne@wirestreamproductions.com,  or  by 
Parcel  Post  to  WireStream  Productions, 
3005B  W.  Hwy  76,  Branson  MO  65616. 

WEBCAST 

FILMFIGHTS.COM  democratic  filmfestival  that 
anyone  can  enter,  3  times  a  month.  We 
filmfight  every  ten  days  of  the  month  (the 
10th,  20th,  and  30th)  and  submissions  are 
due  1  day  before  the  fight-given  a  title  or 
genre,  the  submissions  are  voted  on 
through  the  website.  Please  visit  the  web- 
site for  a  complete  list  of  guidelines: 
http://filmfights.com/submit.shtml. 

KNOWITALLVIDEO  created  an  online  video 
community  aimed  at  world's  largest  user- 
generated  video  collection.  With  an  exhaus- 
tive list  of  categories  covering  every  con- 
ceivable subject,  any  wannabe  star  or  direc- 
tor with  a  camera  can  easily  upload  short- 
form  digital  videos  for  an  unlimited  audience 
of  Internet  and  wireless  PDA  users  visit 
www.knowitallvideo.com. 


60  The  Independent  |  December  2005 


Wo 


ork  Wanted 


Noncommercial  notices  are  listed  free  of  charge  as 
space  permits.  The  Independent  reserves  the  right  to 
edit  for  length  and  makes  no  guarantees  about  dura- 
tion of  listing.  Limit  submissions  to  60  words  and  indi- 
cate how  long  your  information  will  be  current.  Listings 
must  be  submitted  to  notices@aivf.org  by  the  first  of 
the  month  two  months  prior  to  cover  date  (e.g.,  Sept. 
1  for  Nov.  issue).  Remember  to  give  us  complete  con- 
tact info  (name,  address,  and  phone  number).  Listings 
do  not  constitute  an  endorsement  by  The  Independent 
or  AIVF.  We  try  to  be  as  current  and  accurate  as  possi- 
ble, but  nevertheless:  double-check  details  before 
sending  anyone  anything. 


CO 
< 


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CO 

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CD 

CD 
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HOLLYWOOD  GATEWAY  SCREENWRITING 
CONTEST:  The  mission  of  the  Hollywood 
Gateway  Screenwnting  Contest  is  to 
guide  aspiring  writers  to  their  success 
through  opportunity,  mentoring  and  unpar- 
alleled access  to  Hollywood  decision  mak- 
ers. $5,000  Cash  prize  and  an  initial  12- 
month  option  agreement  against  a  poten- 
tial $100,000  purchase  price,  among  other 
prizes.  Early  Entries  February  28th,  2005  - 
Special  Early  Bird  Entry  Cost  $35.00. 
Contest  Deadline  April  30th,  2005  -  Entry 
Cost  $40.00  Late  Entrany  June  30th,  2005 
-  Entry  Cost  $50.00.  Type  of  Material: 
Screenplays  80-140  pages.  International 
entries  written  in  English  are  welcome. 
www.hollywoodgateway.com/details.php. 

THE  DOCUMENTARY  CHANNEL  IS  A  NEW  DIG- 
ITAL cable  channel  dedicated  to  airing, 
exclusively,  the  works  of  the  independent 
documentary  filmmaker.  There  isn't  a  sin- 
gle type  of  documentary  that  they  will  not 
show,  and  they  are  not  afraid  of  controver- 
sy. That  said,  they  prefer  the  edgier,  more 
personal  films  that  tell  a  story  and  that 
show  something  in  a  unique,  visual  man- 
ner. See  the  website  for  submission 
instructions.  Submissions  accepted  on  a 
rolling  basis.  Please  visit  http://documen 
tarychannel.com/index.htm  for  more  infor- 
mation or  email  programs@documen 
tarychannel.com. 


COMEDY  EXPRESS  TV  seeks  funny  films 
under  7  min.  to  show  and  promote  on  tele- 
vision. We  will  show,  onscreen,  the  credits 
and  contact  information  for  the  filmmakers, 
including  your  15,000!  Please  look  at 
our  website  www.comedyexpresstv.com 
which  gives  more  background  as  well  as 
the  online  release  which  MUST  accompany 
all  submissions.  Contact:  Adam  Gilad  9229 
Sunset  Blvd  LA  CA  90069  adamgi 
lad@mac.com  310  271  0023. 

MACHINE  DREAMS  is  developing  a  series  of 
theatrical  shows  for  national  audiences 
that  will  involve  original  music,  movies, 
movie  shorts,  animations,  games,  graph- 
ics and  art.  We  are  conducting  a  global 
search  for  the  best  ORIGINAL  independ- 
ent material  in  the  following  categories: 
Social  Commentary  &  Societal  Issues, 
Humor  and  Satire,  Special  Effects, 
Interactive  "No  Death"  Gaming,  Great 
Media  in  any  form  (music,  music  video, 
movie,  movie  shorts,  animation,  games, 
graphics,  art)  We  plan  to  incorporate  your 
work  in  one  or  more  of  the  following  ways: 
1.  Include  it  in  a  juried  show  in  New  York 
City,  with  winners  receiving  recognition 
and  cash  prizes  and  airing  on  a  network 
television  show,  2.  Include  it  in  one  or 
more  interactive  shows  in  New  York  City, 
3.  Include  it  in  distribution  across  movie 
theatres,    DVD,    web,    television,    cable, 


satellite  or  radio  broadcast.  Email  a  BRIEF 
DESCRIPTION  to  us  of  your  work: 
kate@machine-dreams.com  DO  NOT 
SEND  US  YOUR  WORK  YET.  For  more 
information  call  Kate  Lawson  at  612-371- 
4428  x11. 

SMOGDANCE,  the  Seventh  Annual  Pomona 
Film  Festival,  wants  to  see  your  cinematic 
statement.  Our  Smogdance  '04  commit- 
tee is  already  up  and  running.  Contact  us 
if  you'd  like  to  be  a  part  of  the  Inland 
Empire's  most  exciting  and  eclectic  film 
event.  Submission  Deadline:  December 
15,  2005  Festival  Date:  January  21,  2005 
—January  23,  2005  Smogdance  '04  (909) 
629-9797  •  FX:  (909)  629-8697;  smog 
dance@hotmail.com. 

TIME:BASE  is  a  curated  exhibition  of  time- 
based  media  and  art  at  Boley,  an  8,000  sq 
ft.  former  bank  in  downtown  Kansas  City. 
Emphasis  for  2006  May-June  show  is  site- 
specific  work  and  installation.  Video,  film, 
audio,  installation,  interactive  art  or  per- 
formance of  any  type  also  considered. 
Send  CD,  DVD,  VHS,  URL  or  detailed 
proposal  with  entry  form  (www.time- 
base.org)  to:  time:  base,  5100  Rockhill  Rd 
Haag  202,  Kansas  City  MO  64110.  Tel:  816- 
235-1708;  time-base@hotmail. 


3i  2005  |  The  Independent    61 


mm§. 


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■e  new  AG-HVX200  DVCPRO  HD  P2  camcorder. 


as  for 


THANK  YOU 


The  Association  of  Independent  Video  and  Filmmakers 
(AIVF)  provides  a  wide  range  of  programs  and  services 
for  independent  moving  image  makers  and  the  media 
community,  including  The  Independent  and  a  series  of 
resource  publications,  seminars  and  workshops,  infor- 
mation services,  and  arts  and  media  policy  advocacy. 

None  of  this  work  would  be  possible  without  the 
generous  support  of  the  AIVF  membership  and  the 
following  organizations: 

We  also  wish  to  thank  the  following  individuals  and 
organizational  members: 


NYSCA 

G 

PBS 

A 


Kodak 

Motion  Picture  Ftfm 


City  of  New  York  Dept.  of  Cultural  Affairs 

Discovery  Wines 

Experimental  Television  Center  Ltd. 

Forest  Creatures  Entertainment,  Inc. 

Home  Box  Office 

The  Jewish  Communal  Fund 

John  D.  and  Catherine  T.  MacArthur  Foundation 

The  Nathan  Cummings  Foundation 

The  National  Endowment  for  the  Arts 

New  York  State  Council  on  the  Arts 

The  Norman  and  Rosita  Winston  Foundation 

PBS 

Yuengling  Beer 

The  Advertising  Club 

Kodak 


BUSINESS/INDUSTRY  MEMBERS:  AL:  Cypress  Moon  Productions; 
CA:  SJPL  Films,  Ltd.;  CO:  CU  Film  Studies,  Pay  Reel;  CT:  Anvil 
Production;  DC:  Corporation  for  Public  Broadcasting;  FL:  Charter 
Pictures  Entertainment;  Key  West  Films  Society;  GA:  Lab  601 
Digital  Post;  IL:  Shattering  Paradigms  Entertainment,  LLC;  MA: 
Exit  One  Productions;  MD:  NewsGroup,  Inc.;  TLF  Limited 
Management;  Ml:  Logic  Media  LLC;  MS:  Magnolia  Independent 
Film  Festival;  NY:  Entertainment  Pro  Insurance;  Cypress  Films; 
Deutsch/Open  City  Films;  Docurama;  Forest  Creatures 
Entertainment;  getcast.com;  Harmonic  Ranch;  Larry  Engel 
Productions  Inc.;  Lightworks  Producing  Group;  Mad  Mad  Judy; 
Metropolis  Film  Lab;  Missing  Pixel;  New  School  University;  Off 
Ramp  Films,  Inc.;  On  the  Prowl  Productions;  OVO;  Production 
Central;  Range  Post;  Robin  Frank  Management;  Rockbottom 
Entertainment,  LLC;  Talent  Solutions;  The  Outpost;  Triune  Pictures; 
United  Spheres  Production;  VA:  Karma  Communications  Film  & 
Video;  WA:  Sound  Wise;  Two  Dogs  Barking; 

NONPROFIT  MEMBERS:  AR:  Henderson  State  University; 
CA:  Bay  Area  Video  Coalition;  California  Newsreel;  Everyday 
Gandhis  Project;  Film  Arts  Foundation;  NAATA/Media  Fund; 
NALIP;  USC  School  of  Cinema  and  TV;  CO:  Denver  Center  Media; 
Free  Speech  TV:  CT:  Hartley  Film  Foundation;  DC:  CINE;  Media 
Access;  School  of  Communication,  American  University;  FL: 
Miami  International  Film  Festival;  University  of  Tampa;  HI:  Pacific 
Islanders  in  Communications;  IL:  Community  Television  Network; 
Department  of  Communication/NLU;  Kartemquin  Films;  IN:  Fort 
Wayne  Cinema  Center;  Kansas  City  Filmmakers  Jubilee;  KY: 
Appalshop;  MA:  CCTV;  Documentary  Educational  Resources; 
Harvard  University,  OsCLibrary;  LTC;  MD:  Laurel  Cable  Network; 
Silverdocs:  AFI  Discovery  Channel  Doc  Festival;  ME:  Maine 
Photographic  Workshop;  Ml:  Ann  Arbor  Film  Festival;  MN: 
IFP/MSP;  Walker  Art  Center;  MO:  dhTV;  Webster  University  Film 
Series;  NC:  Broadcasting/Cinema;  NE:  Nebraska  Independent 
Film  Project/AIVF  Salon  Lincoln;  NJ:  Black  Maria  Film  Festival; 
Princeton  University.  Program  in  Visual  Arts;  University  of  New 
Mexico;  NY:  ActNow  Productions;  Arts  Engine;  Council  for  Positive 
Images,  Inc.;  Creative  Capital  Foundation;  Crowing  Rooster  Arts; 


Dutchess  Community  College  Student  Activites;  Educational 
Video  Center;  Film  Forum;  Film  Society  of  Lincoln  Center;  Firelight 
Media;  International  Film  Seminars;  LMC-TV;  Manhattan 
Neighborhood  Network;  National  Black  Touring  Circuit;  National 
Black  Programming  Consortium;  National  Musuem  of  the 
American  Indian;  National  Video  Resources;  New  York  University, 
Cinema  Studies;  New  York  Women  in  Film  and  Television; 
Parnassus  Works;  POV/The  American  Documentary;  RIT  School  of 
Film  and  Animation;  Squeaky  Wheel;  Stony  Brook  Film  Festival; 
Syracuse  University;  United  Community  Centers;  Upstate  Films, 
Ltd.;  Witness;  Women  Make  Movies;  OH:  Athens  Center  for  Film 
And  Video;  Independent  Pictures/AIVF  Ohio  Salon;  Media  Bridges 
Cincinatti;  School  of  Film,  Ohio  University;  Wexner  Center;  OR: 
Northest  Film  Center;  The  Oregon  Film  &  Video  Foundation;  PA: 
American  INSIGHT,  Inc.;  TeamChildren.com;  Rl:  Flickers  Arts 
Collaborative;  SC:  Department  of  Art,  University  of  South  Carolina; 
South  Carolina  Arts  Commission;TX:  Austin  Film  Society;  Houston 
Film  Commission;  Southwest  Alternate  Media  Project;  University 
of  Texas  RTF;  WA:  Seattle  Central  Community  College;  UWM 
Dept.  of  film;  Canada:  Cinematheque  Quebecoise  Musee  Du 
Cinema;  France:  The  Carmago  Foundation 

FRIENDS  OF  AIVF:  Angela  Alston,  Sabina  Maja  Angel.Tom  Basham, 
Aldo  Bello,  David  Bemis,  Doug  Block,  Liz  Canner,  Hugo  Cassirer, 
Williams  Cole,  Anne  del  Castillo,  Arthur  Dong,  Martin  Edelstein,  Esq., 
Aaron  Edison,  Paul  Espinosa,  Karen  Freedman,  Lucy  Garrity,  Norman 
Gendelman,  Debra  Granik,  Catherine  Gund,  Peter  Gunthel,  David 
Haas,  Kyle  Henry,  Lou  Hernandez,  Lisa  Jackson,  John  Kavanaugh, 
Stan  Konowitz,  Leonard  Kurz,  Lyda  Kuth,  Steven  Lawrence,  Bart 
Lawson,  Regge  Life,  Juan  Mandelbaum,  Diane  Markrow,  Tracy 
Mazza,  Leonard  McClure,  Daphne  McDuffie-Tucker,  Jim  McKay, 
Michele  Meek,  Robert  Millis,  Robert  Millis,  Richard  Numeroff, 
Elizabeth  Peters,  Laura  Poitras,  Robert  Richter,  Hiroto  Saito,  Larry 
Sapadin,  James  Schamus,  John  Schmidt,  Nat  Segaloff,  Robert 
Seigel,  Gail  Silva,  Innes  Smolansky,  Barbara  Sostaric,  Alexander 
Spencer,  Miriam  Stern,  George  Stoney,  Rhonda  Leigh  Tanzman, 
Rahdi  Taylor,  KarlTrappe,  Jane  Wagner,  Bart  Weiss 


r  2005  |  The  Independent    63 


La's  )ȣ  pi*ij  wj)fk 


THE  LIST 


>The  Real  Deal 


®    © 


By  Rebecca  Carroll 


Televison  networks  continue  to  develop  new  and  more  and  more  and  new  reality  programming,  and  docs 
are  getting  more  and  more  commercial  and  self-indulgent.  What's  the  difference  between  the  two?  And 
more  importantly,  what  are  the  futures  of  these  two  genres — will  they  intersect  or  cancel  each  other  out  or 
ultimately,  distinguish  themselves  from  one  another  in  an  ugly  high-brow/low-brow  battle  to  the  finish? 

Filmmakers  respond. 


"I  think  the  pop  docs  that  have  become  so  prevalent  are  fairly 
harmless,  though  it  would  be  wrong  to  think  that  they  open  up 
opportunities  for  the  genre  in  general.  In  fact,  though  they  might 
open  the  door  a  bit  to  theatrical  doc  audiences,  the  result  is  then 
that  the  room  is  more  crowded.  So  who's  gonna  book  the  really 
well-made,  artistically  or  politically  challenging  doc  when  they  can 
book  Mad  Hot  Spelling  Ball  instead?  In  the  end,  I  think  pop  docs 
will  stick  around  but  thin  out — even  the  popcorn  audience  can 
only  watch  so  many  heartwarming  films  about  misfits  from  bad 
neighborhoods  triumphing  over  adversity. 

"Reality  TV  has  nothing  to  do  with  real  docs,  pop  or  not.  It  has 
more  to  do  with  porn,  actually,  or  drug  dealing.  The  only  way  to 
stop  it  is  to  ignore  it.  Stop  watching,  stop  talking  about  it,  and  film 
people,  please,  stop  working  on  it.  'It's  a  gig  and  I  need  the  money' 
is  not  an  excuse.  Making  snuff  films  is  a  gig,  too.  It's  degrading, 
mind-numbing,  and  just  plain  sad.  And  because  of  old-fashioned 
things  like  theaters,  VCRs,  books,  and  actual,  human  conversa- 
tion, reality  TV  is  actually  pretty  easy  to  ignore.  Try  it  tonight. 
You'll  feel  much  better  in  the  morning." 

— Jim  McKay,  director,  Angel  (2005) 

"So  what  happens  when  the  tables  are  turned  on  a  documen- 
tary filmmaker?  When  you  suddenly  find  yourself  as  a  minor 
league  character  (aka  'the  boss')  in  a  major  league  reality  show 
world  (The  Real  World:  Austin').  This  was  my  experience.  It's 
hard  to  be  spontaneous  when  two  or  three  camera  crews  are 
maneuvering  to  get  the  best  angle  of  every  conversation  I  have.  I'm 
trying  to  give  advice,  help  the  kids  make  a  short  film  about  bands 
at  SXSW,  but  I'm  also  wondering  how  an  editor  I'll  never  meet  is 
going  to  use  anything  I  say.  Or  any  facial  tick  I  might  have. 

"I  may  ultimately  question  what  'truth'  is,  but  then  if  docu- 
mentaries— and  even  some  reality  shows — are  representations  of 
real  life,  by  necessity  they're  in  service  of  the  filmmaker's  perspec- 
tive and  interpretation  of  that  reality.  But  what  I  really  think  about 


is  the  one  thing  I  probably  share  with  everyone  else  who  has  ever 
seen  themselves  on  screen.  Every  time  I  appear,  I  worry  about  how 
I  look." 

— Paul  Stekler,  filmmaker,  George  Wallace:  Settiri  the  Woods  on 
Fire  (2000),  Radio-TV-Film  Dept.,  University  of  Texas  at  Austin 

"I  just  edited  the  trailer  for  a  reality  TV  pilot  about  a  docu- 
mentary filmmaker.  This  pilot  was  shopped  around  as  a  hybrid. 
Part  reality,  partly  scripted,  and  each  episode  would  contain  a 
character  portrait  in  documentary  style.  What  is  the  future  of  these 
two  forms  of  expression,  documentary  film  and  reality  TV?  The 
future  of  television  is  multi-vision — many  eyes  on  many  things  all 
the  time.  Homeless  TV  is  another  way  to  look  at  it,  disassociated 
from  time  and  place." 

— Fritz  Donnelly,  filmmaker,  To  the  Hills  (2002) 

"First,  I  think  there  are  two  types  of  reality  programs:  One  being 
the  'race  'em'  type  shows,  the  lowest  of  the  low  in  any  type  of  pro- 
gramming, reality  or  not  (who's  the  ugliest  swan  or  shiniest  appren- 
tice and  my  personal  favorite,  the  toppest  of  all  the  models  in  the 
land!);  all  of  which  are  today's  version  of  the  '70s  game  show.  The 
other  being  one  that  follows  a  character  or  a  group  of  characters  in 
a  (semi)  realistic  situation,  be  it  a  mechanic  shop,  an  airline,  etc. 
and  which  holds  a  lot  of  similarities  to  so  called  'high-brow'  docs. 

"Both  forms  have  intersected  for  a  long  time  it's  just  that  now 
there  are  more  hour-long  docs  on  TV,  where  as  1 0  years  ago  there 
used  to  be  none.  I  have  never  felt  that  'high  brow'  docs  {March  of 
the  Penguins,  Born  Into  Brothels)  were  any  less  manipulative  than  an 
episode  of  "Miami  Ink" — they  are  both  telling  a  story  and,  in  order 
to  do  that,  are  manipulating  the  truth  to  serve  the  story.  Feels  more 
like  the  distinction  between  the  two  comes  down  to  which  one  gets 
to  screen  at  Sundance  and  have  a  theatrical  run,  while  the  other  will 
air  every  Tuesday  at  9  on  the  Discovery  Channel." 

— Bo  Mehrad,  writer/director,  Thirsty,  Ugly  Betty  Productions 


64  The  Independent  |  December  2005 


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gamma  and  skin  tone  detection 
(can  be  stored  on  memory  card) 

•  Optional  recording  direct  to  hard  disk 

•  XLR  audio  inputs 

•  Also  records  spectacular  16:9 
standard  definition  in  DV  format 

TheGY-HD100UisHDVandDV 
compatible.  It's  the  first  of  JVC's  family 
of  ProHD  products  -  designed  to 
create  an  affordable  HD  system  with 
unlimited  flexibility... without  locking 
you  into  a  single  format  or  media. 

JVC's  new  GY-HD100U.  A  truly 
progressive  move  to  HD.  For  your 
free  brochure,  call 
our  professionals 
at  800.582.5825, 
or  contact  us  at 
www.jvc.com/pro 


Shown  with  optional  accessories 


JVC 


Avitl     *LumiereHD  PINNACLE     Hl02<4  i-*XX 

nrXU       ^    >voHi..»F,„.1c1.p.o     x     systems      Progressive        rml^J** 


The  Perfect  Experience  


www.jvc.com/pro